Contents: Music director Equipment of the music hall Theater and music studio "Golden Key" - theatrical fantasies, children's creativity - instrumental music playing Our stars Creative team We - artists Collaborate Our awards Conclusion Archival materials

Musical director Graduated from the Glinka Magnitogorsk Music College in 1975 with a degree in choir conductor, solfeggio teacher. 35 years of teaching experience. The highest qualification category. My pedagogical credo: “A child is not a vessel that needs to be filled, but a torch that needs to be lit, and only the one who burns himself can light a torch!”

Theatrical and musical studio "Golden Key" Tasks: To form a steady interest in theatrical and staging activities To liberate the creative abilities of preschoolers To teach children to master the simplest musical instruments To develop memory, attention, thinking and perception

Conclusion Theatrical and musical activity in a child's life is not only an aesthetic education and familiarization with the values ​​of culture, but also an effective way to develop children's abilities, their path to spirituality. happy life and self-realization as a person.

Archival materials Synopsis of the holiday “Spring visiting preschool children” Abstract of the holiday “Spring visiting preschool children” Lesson on theatrical activities in the preparatory group for school: “Miracle Spoons” Lesson on theatrical activities in the preparatory group for school: “Miracle Spoons” Work experience "Musical folklore as a means of developing musical creative abilities" Experience "Musical folklore as a means of developing musical creative abilities"

As you know, the theater is one of the most visual forms of artistic reflection of life, based on the perception of the world through images. A specific means of expressing the meaning and content in the theater is a stage performance that arises in the process of interaction between actors. However, in the field of primary musical education of children, musical and theatrical activity seems to be the least developed direction, while its effectiveness is obvious, as evidenced by numerous psychological and pedagogical studies.

Musical education is a synthesis of various activities. The process of musical education includes all types of musical activities, including theatrical performance. In music lessons, theatricalization should occupy a significant place, along with other activities, theatricalization has a great influence on the development of a child's creative abilities, imaginative thinking.

In the process of theatrical games, an integrated upbringing of children takes place, they learn expressive reading, singing, playing musical instruments. A creative atmosphere is created that helps each child to reveal himself as an individual, to use his own abilities and abilities. In the process of creating theatrical performances based on musical works, another side of art opens up for the child, another way of self-expression with which he can become a direct creator is movement to music.

The musical component of theater classes expands the developmental and educational possibilities of the theater, enhances the effect of emotional impact on both the mood and the worldview of the child, since the theatrical language of facial expressions, gestures and plasticity of movements is added to the musical language of thoughts and feelings.

Depending on the methods of teaching music used, the teacher can take theatricalization as the basis for the classes. Elements of theatricalization can be used both during entertainment events and holidays, and in basic classes, starting from junior group. In the process of musical education of children, the exercises performed by the child gradually become more complicated, and at the same time, its self-realization in the creative sphere also increases.

Theatrical performances, playing musical works occupy an important place in the holistic musical education of the child. Theatricalization allows a child of any age and gender to discover the opportunity to "play" and learn at the same time. This type of activity is available to everyone and has a beneficial effect on the creative development of the child, his openness, emancipation, allows you to save the child from unnecessary shyness and complexes.

By its nature, theatrical art is closest to the children's role-playing game, which develops as the basis for relatively independent functioning. children's community and by the age of 5 takes the position of the leading activity of children. The most important component children's play and theater act as the development and knowledge of the surrounding reality, as its artistic reflection. In play activity, the role is mediated through the play image, and in the theatre, through the stage image. The forms of organization of these processes are also similar: role-playing and acting. Thus, theatrical activity meets the natural conformity of this age, satisfies the child's basic need - the need for play and creates conditions for the manifestation of his creative activity through musical and rhythmic movements.

As a rule, musical fairy tales serve as material for the stage embodiment, which give "an extremely bright, wide, multi-valued image of the world." Participating in dramatization, the child, as it were, enters the image, reincarnates into it, lives its life. This is perhaps the most difficult implementation, because. it is not based on any reified pattern (see appendices). The natural predisposition of preschoolers to "dancing" explains their keen interest in the perception of the musical and theatrical performance and participation in it. Satisfaction of these age-related needs in musical and theatrical creativity frees the child from complexes, gives him a sense of his own identity, brings the child a lot of joyful minutes and great pleasure.

It is known that the basis of the musical image is the sounding image of the real world. Therefore, for the musical development of a child, it is important to have a rich sensory experience, which is based on a system of sensory standards (height, duration, strength, timbre of sound), really represented in the sounding images of the world (for example, a woodpecker knocks, a door creaks, a stream murmurs, etc.). d.).

At the same time, the process of musical activity is built mainly on artificially created images that have no sound and rhythmic analogy in the surrounding reality (dolls sing, hares dance, etc.), all this can be played with theatricalization.

Theatrical activity leaves a lot of scope for the creativity of the child himself, allows him to invent certain movements, methods of action to convey the image of his hero. In dance creativity, the child gets the opportunity to get a cheerful self-affirming self-confidence, which becomes an excellent background for the development of his intellectual sphere.

There is a need to use rhythmoplasty in work with children, which is aimed, respectively, at the psychological emancipation of the child through the development of his own body as an expressive instrument. In rhythmoplasty, the movements must correspond to the music, be accessible to the motor abilities of children, phased in the content of the game image, diverse, non-stereotypical. In modern rhythmoplastic dance, complete subordination to the internal laws of the musical form, which dictates the rhythmic organization of movements and freedom of plastic development, not related to the dance tradition.

In order to be able to convey a theatrical image through musical and rhythmic movements, a child must have a certain reserve of movements. They are borrowed from exercise, plot dramatization, dance. Children, acting as fairy-tale or real characters, convey images that are in certain relationships. These are the most diverse impressions received when observing the actions of adults, the movement of various vehicles, the habits of animals, birds, etc. These impressions are deepened by TV shows, films, and performances. The guys use characteristic gestures and actions, while showing a lot of fiction, imagination and creativity. Such movements are called figurative, imitation, plot. Musical-rhythmic skills and skills of expressive movement are closely interconnected and are a single process of perceiving music and reproducing its features in various movements.

Music in theatrical productions occupies a leading place. The content of the works, its musical means, construction are the main stimulus for the expressive movements of the child. Along with this, the works should be dynamic, comfortable, slender in form, bring joy to children, and help improve their movements. In the practice of teaching movements, vocal and instrumental music is used - the author's original and folk.

Support for the initiative of improvisation in dance - theatrical activities allows you to develop in children a "live" interest in music lessons, turn them from a boring duty into a fun performance. Theatrical activity contributes to the mental and physical development of the child, allows, within the framework of the theatrical game, to learn about the norms, rules and traditions of the society in which he lives.

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The perception of musical art is impossible without the subjective and creative acceptance of the musical image, then there is a need to expand the content of familiarizing preschoolers with musical art and, above all, reconsidering the relationship to sensory standards associated with the world of sounds.

It is known that the basis of the musical image is the sounding image of the real world. Therefore, for the musical development of a child, it is important to have a rich sensory experience, which is based on a system of sensory standards (height, duration, strength, timbre of sound), really represented in the sounding images of the world (for example, a woodpecker knocks, a door creaks, a stream murmurs, etc.). d.).

At the same time, the process of musical activity is built mainly on artificially created images that have no sound and rhythmic analogy in the surrounding reality (dolls sing, hares dance, etc.), all this can be played with theatricalization.

Theatrical activity of children includes several sections: the basics of puppetry, acting, game creativity, imitation of musical instruments, song and dance creativity of children, holding holidays and entertainment.

For classes, entertainment and performances, together with educators and parents, it is necessary to make scenery, attributes, masks, costumes of fairy-tale characters, emblems, noise musical instruments (jars with cereals, pebbles; boxes with sticks, etc.)

With kids, you can pay attention to the reflection of fabulous images of animals, analyze the nature of the movement, intonation: a large and small bird flies, funny and sad hares, snowflakes spin, fall to the ground. Use psycho-gymnastics exercises: it's raining, the wind is blowing, the sun is shining, a cloud.

In general, it is necessary to ensure that children convey their mood, change their facial expressions, and see off work with children. important aspect is to encourage the participation of children in dramatizations, the desire to play a role. In the process of learning, children learn to correctly name the theater equipment, treat it with care, navigate in the space of the hall, and follow the development of the action. Much attention should be paid to the child's speech, the correct pronunciation of words, the construction of phrases, trying to enrich the speech. Together with the children, you can compose small stories, together come up with the dialogues of the characters. Children can independently compose and beat any story.

Older preschoolers can compose melodies in the lullaby genre for a bear, doll, etc. In dance art, attention should be paid to fostering interest and a desire to move in various images - animals, snowflakes, parsley. Various attributes should be used in the classroom: flowers, leaves, ribbons, fireworks, handkerchiefs, cubes, balls, etc. Migunova E.V. Organization of theatrical activities in kindergarten: Educational and Toolkit. - Veliky Novgorod: NovGU im. Yaroslav the Wise, 2006. - S. 57 (26)

An important stage of theatrical activity is the work on the acting skills of children. As an example, you can ask the child to show the image delicious candy, cowardly bunny and so on.

In older groups, it is necessary to achieve expressive speech, the development of ideas about moral character rules of conduct for spectators at the performance. With the help of theatrical activities, children learn to express their attitude to what is happening more accurately, learn to be polite, attentive, get used to the image, be able to analyze their game and the performance of other characters, learn new techniques for playing musical instruments.

Theatrical activity leaves a lot of scope for the creativity of the child himself, allows him to invent this or that scoring of actions himself, to select musical instruments for performance, the image of his hero. If desired, children should be able to choose their own roles, without any coercion.

It is possible to use games for attention, fantasy, I achieve a vivid transfer of a diverse image. In dance creativity, the child gets the opportunity to get a cheerful self-affirming self-confidence, which becomes an excellent background for the development of his intellectual sphere.

Supporting the initiative of improvising on musical instruments, singing, dancing and theatrical activities allows children to develop a "live" interest in music lessons, turn them from a boring duty into a fun performance. Theatrical activity contributes to the mental and physical development of the child, allows, within the framework of the theatrical game, to learn about the norms, rules and traditions of the society in which he lives.

You can use the following musical equipment:

- musical instruments for the work of a music director;

- children's musical instruments;

- musical toy;

-musical and didactic aids: teaching and visual material, board musical and didactic games;

-audiovisual aids and special equipment for them; equipment for artistic and theatrical activities;

- Attributes and costumes.

Thus, theatrical activity, in the process of musical education of children, performs a socializing function and thus gives impetus to the further development of the child's abilities.

Musical and theatrical activity is a source of development of feelings, deep feelings and discoveries of the child, introduces him to spiritual values. This is a concrete visible result.

Musical and theatrical activity allows you to form the experience of social behavior skills due to the fact that each literary work or fairy tale for preschool children always has a moral orientation (friendship, kindness, honesty, courage, etc.)

Musical and theatrical activity is a synthetic form of work with children on musical and artistic education. It includes:

- perception of music;

- song and game creativity;

- plastic intonation;

- instrumental music making;

- art word;

- theatrical games;

- stage action with a single artistic concept.

The most effective when listening to music are the following methodological techniques:

- "Listen and tell"

- "Listen and dance"

- "Listen and play"

- “Listen and sing”, etc.

In addition to listening and singing, great attention in musical and theatrical work is paid to such activities as rhythmic movements, plasticity, and dance improvisations. In productions of fairy tales or musicals, figurative dances of heroes occupy one of the brightest and most interesting places. Solovyanova O.Yu. Musical and theatrical activity as a condition for the intensification of students' vocal development. // Music education: scientific search in solving actual problems of the educational process. - M.: Education, 2009. Volume 1. - P.63-64. (41)

Theatrical activity includes the following points of musical development:

1. Dramatization of songs;

2. Theatrical sketches;

3. Entertainment;

4. Folklore holidays;

5. Fairy tales, musicals, vaudeville, theatrical performances.

ON THE. Vetlugina in her research comprehensively analyzed the possibilities of children in performing creative tasks, the origins of children's creativity, the ways of its development, substantiated the idea of ​​interconnection, interdependence of learning and creativity of children, theoretically and experimentally proving in her works that these processes do not oppose, but are in close contact, mutually enrich each other. It was found that a necessary condition for the emergence of children's creativity is the accumulation of impressions from the perception of art, which is a model for creativity, its source. Another condition for children's musical creativity is the accumulation of performing experience. In improvisations, the child emotionally, directly applies everything that he has learned in the learning process. In turn, learning is enriched by the creative manifestations of children, acquires a developing character.

Children's musical creativity, like children's performance, usually has no artistic value for the people around them. It is important for the child himself. The criteria for its success is not the artistic value of the musical image created by the child, but the presence of emotional content, the expressiveness of the image itself and its embodiment, variability, and originality.

In order for a child to compose and sing a melody, he needs to develop basic musical abilities. In addition, the manifestation of creativity requires imagination, fantasy, free orientation in unusual situations.

Children's musical creativity is by its nature a synthetic activity. It can manifest itself in all types of musical activity: in singing, rhythm, playing children's musical instruments. It is important to form song creativity, starting from the younger preschool age, using creative tasks that are feasible for children. The success of children's creative manifestations depends on the strength of singing skills, the ability to express certain feelings, moods in singing, to sing clearly and expressively. In order to orient preschoolers in the song work of N.A. Vetlugina offers exercises for the accumulation of auditory experience, the development of musical and auditory representations. It is important to draw children's attention to the expressiveness of their improvisation even in the simplest exercises. In addition to singing, children's creativity can manifest itself in rhythm and playing musical instruments. The creative activity of children in rhythm largely depends on the organization of teaching musical and rhythmic movements. The full-fledged creativity of a child in rhythm is possible only if his life experience, in particular musical and aesthetic ideas, is constantly enriched, if there is an opportunity to show independence.

Increased attention should be paid to the selection of musical works that serve as a scenario for independent actions of children. Program music occupies a leading place in creative tasks, since a poetic text and a figurative word help the child to better understand its content.

The instrumental creativity of children, as a rule, manifests itself in improvisations, i.e. composing while playing an instrument, direct, momentary expression of impressions. It also arises on the basis of children's life and musical experience.

One of the conditions for successful instrumental creativity is the possession of elementary skills in playing musical instruments, various methods of sound production that allow you to convey the simplest musical images (clatter of hooves, magical falling snowflakes). It is important that children understand that when creating any image, it is necessary to express the mood, the nature of the music. Depending on the nature of the image to be conveyed, children choose certain expressive means, this helps children to feel and understand the features of the expressive language of music more deeply, encourages independent improvisation.

All of the above conditions are observed in theatrical activities. Thus, we can conclude that the process of theatrical activity is inextricably linked with the musical development of the child.

2 .3 Analysis of programs combining theatrical activities and musical education

Let's consider them in more detail.

1. Creative group edited by K.V. Tarasova, M.L. Petrova, T.G. Ruban "Synthesis".

"Synthesis" is a program for the development of musical perception in children based on the synthesis of art. This is a music listening program. The group of authors of the program based their work on the fact that initially, in the early stages of development, the human history of art was syncretic in nature and included the rudiments of verbal and musical art, early forms of choreography and pantomime. The authors use the principle of syncretism of art in music lessons with children: "synthesis makes it possible to combine different arts in the interests of their mutual enrichment, enhancing figurative expressiveness."

The authors believe that a person's full perception and awareness of works of any art is possible only if there is elementary knowledge in the field of other types of art.

“The upbringing of this kind of “artistic polyglots” should begin in childhood, since a syncretic orientation in the world and the syncretic nature of artistic and creative activity are natural for a child.” The most fruitful, according to the authors, is the synthesis of music, painting, literature, which provides great opportunities for the development of the child's artistic culture.

This program is based on the interaction of several principles for organizing music lessons with children:

- Special selection of musical repertoire;

- Using the synthesis of arts;

- Use in the classroom for listening to music other types of musical activities of children as auxiliary: singing, playing in the orchestra, conducting.

- Development of some blocks of the content of music lessons and their plot outline.

The musical repertoire of the program includes works of different eras and styles, which meet two leading principles - high artistry and accessibility. Based on the fact that the program is based on the synthesis of the arts, its authors also turned to musical genres, which are based on an organic synthesis of several arts - to opera and ballet. In an effort to make them available to children, preference is given to a fairy tale - a fairy tale in an opera and a fairy tale in a ballet.

The musical works of the program are combined into thematic blocks and are given in them in order of increasing complexity. Block themes for children 5 years of age “Nature in music”, “My day”, “Russian folk images”, “Fairy tale in music”, “I am learning notes”, etc.

The works of visual arts offered in the program are not limited to the task of giving only knowledge about those objects, events, characters that are reflected in sounds. Both paintings and sculptures are offered as a variant of figurative understanding of music at the level of associative links. It awakens the creative imagination of the child, stimulates his figurative thinking. The landscapes of A. Savrasov, I. Levitan, I. Grabar help create a poetic atmosphere and serve as a kind of overture that tunes in to the perception of music dedicated to pictures of Russian nature (P. Tchaikovsky, S. Prokofiev, G. Sviridov).

Work on the program involves the variability of classes. The authors recommend separating listening to music into an independent activity, and spends it in the afternoon. The package of materials, along with the program, includes: "Anthology of the musical repertoire", "Methodological recommendations", a cassette with a studio recording of musical works, a set of slides, video cassettes and filmstrips.

The SYNTHESIS program for children of the 6th year of life is built on the same scientific foundations and methodological principles and solves the same set of tasks for the musical and general artistic development of the child as the SYNTHESIS program for children of the 5th year of life. At the same time, its content and forms of its presentation are distinguished by greater depth and complexity, which is associated with the increased capabilities of older preschoolers.

The program has two major sections: Chamber and Symphony Music and Opera and Ballet. In the first of them, children get acquainted with the works of I.S. Bach, J. Haydn, V.A. Mozart, S. Prokofiev. In the second section of the program, children are offered two musical fairy tales - ballet by P.I. Tchaikovsky's The Nutcracker and M.I. Glinka Ruslan and Lyudmila. In order for children to get a more complete impression of such complex genres of art as ballet and opera, they are offered video fragments of the ballet The Nutcracker and the opera Ruslan and Lyudmila.

The authors of the program K.V. Tarasova, M.L. Petrova, T.G. Ruban.

2. The author's program "Theater Steps" E.G. Savina

Author's program "Theater Steps" (252 hours) for children aged 5-8.

Education according to the program is carried out taking into account the basic principles of developmental education: emotional stimulation of educational and cognitive activity, the development of cognitive interest in the child, the development of his mental functions, creative abilities and personal qualities. In the classroom, developmental teaching methods are widely used, with the help of which the teacher solves the problems facing him. learning task- ensuring the appearance in children of positive motivation for their actions in mastering musical and theatrical art.

Creating situations of success in the classroom according to the program is one of the main methods of emotional stimulation and is a chain of situations specially created by the teacher in which the child achieves good results, which leads to the emergence of a sense of self-confidence and “ease” of the learning process. Emotional arousal activates the processes of attention, memorization, comprehension, makes these processes more intense and thereby increases the effectiveness of the goals achieved.

The method of forming the readiness to perceive educational material using the zone of proximal development and the method of stimulating entertaining content in the selection of bright, figurative texts are the main methods for developing children's cognitive interest in the theater.

The method of creating problem situations is to present the lesson material in the form of an accessible, figurative and vivid problem. Children, due to their age characteristics, are distinguished by great curiosity, and therefore any clearly and easily stated problem immediately “ignites” them. The method of creating a creative field (or the method of solving problems of a divergent nature) is the key to ensuring a creative atmosphere in the team. Work "in the creative field" creates the possibility of finding different ways to solve problems, finding new artistic means of embodying the stage image. Each new discovery of one

A valuable method of stimulating interest in musical and theatrical activities is the method of using various game forms in organizing children's activities. The method of transferring game activity to a creative level is the introduction of new elements into a well-known and familiar game for children: an additional rule, a new external circumstance, another task with a creative component, or other conditions.

The main form of conducting classes under the Theater Steps program is a game. Game training as a special form of communication in the process of musical and theatrical activity of preschoolers is a set of specially selected tasks and exercises aimed at developing their basic mental processes (attention, memory, imagination, speech), which, according to theater teachers (K.S. Stanislavsky, L.A. Volkov), the fundamental components of acting, as well as the development of musicality, vocal-auditory and musical-motor skills.

The program has a certain logic of mastering educational material: the initial orientation of children in the means of acting expressiveness and their mastering of the elementary skills of musical stage transformation (improvisation, fantasizing, etudes), the development and consolidation of these skills in productive activities, namely in musical and theatrical productions; formation of basic knowledge about the emergence and development of theatrical art, including musical theater.

The content of the classes is aimed at mastering by children the individual and collective actions of perception of the surrounding reality, its analysis and control; on the orientation of children in the means of acting expressiveness based on pantomimic and verbal-emotional improvisations, as well as on the development of vocal-choral and musical-rhythmic components of musical and stage activity by children; to master the skills of verbal actions and stage speech; on the inclusion of children in active productive and creative activities.

In accordance with the logic of mastering the material, the program is designed for three years of study, classes are built on the principle of increasing the volume of children's activities depending on the year of classes.

I. The “theatrical primer”, the so-called “first step”, is a cycle of integrated lessons that includes games for the development of attention, imagination, the development and differentiation of vocal-auditory and musical-motor coordination, as well as musical-auditory sensations.

The development of theatrical creativity begins with the propaedeutic stage - specially organized communication of preschoolers within the framework of theatrical creativity, which gradually introduces the child into the most entertaining world of theater. This communication is carried out in the form of game training, which is a way for the child to adapt to a new team; a means of developing purposeful actions for mastering the surrounding reality; a condition for the personal development and creative growth of the child.

This type of activity helps children to live and understand this or that situation, activates the desire of children to act, develops readiness to positively accept the positions of another person, and contributes to the development of qualities necessary for further life in society.

During the first year of study, children develop:

- skills of collective actions (control and evaluation of own actions and actions of comrades, comparison of their actions with the actions of other children, interaction);

- develop the ability to perceive and control objects of the surrounding reality through visual, auditory and tactile analyzers and the skills of psychophysical and emotional liberation through the activation of the muscles of the face and body;

- initial generalized ideas about the concepts of “artistic image”, “means of creating an artistic image” are formed

- specific elementary skills are formed to create this image by various artistic, stage and musical means (pantomime, re-intonation, timbres of children's musical instruments);

- the foundations of stage speech are laid;

- vocal-choral skills and skills of musical-rhythmic movements are formed.

II. “Musical theater”, the so-called “second step”, is a class where children are involved in the creative work of staging a musical performance. The skills acquired in the process of studying at the “first step” are developed and consolidated by children in productive musical and stage activities.

Thus, this stage is reproductive and creative. Classes in the “Musical Theater” section of the program are designed to combine all the abilities of the child and the acquired skills and abilities to maximize the use of his creative potential when creating a musical performance as a creative product of a large team of small actors.

In the process of studying at this "step" in children, the following is carried out:

- rethinking previously acquired skills and abilities on a new specific musical stage material;

- happening further clarification the concepts of “artistic image” and “means of creating an artistic image”;

- initial ideas about the concepts of “performance”, “role”, “stage of the performance”, “actor ensemble” are formed;

- there is a further development of stage speech, the formation of skills of verbal actions (emotional immersion in spoken words);

- development of vocal and choral skills and skills of musical and rhythmic movements;

- a steady interest is formed in theatrical art in general and in musical theater in particular.

At this stage, it is typical to use such forms of organizing musical and theatrical activities as a drama theater and staging musicals. An example of a musical piece is L. Polyak's play "Turnip" (see Appendix).

III. "Conversations about the theater", the so-called "third step" - this is the third year of classes, where, along with the continuation of training and staging classes, children acquire basic knowledge about the history of the emergence and development of theatrical art.

“Conversations about the theater” is a systematic cycle of problem-search activities, in which, satisfying their interest, children are engaged in research activities to study the nature of theater in general, and music in particular. The solution of the educational tasks put forward by the program is provided by a certain logic of the presentation of the educational material, presented below.

In the process of studying in this section, children master already known concepts at a new level through the use of new theatrical terminology and further mastering the basic elements of musical and stage activity in new theatrical productions.

The methodological support of the Theater Steps program includes a set of specially designed manuals and practical materials (“Theatre Steps: ABC of Games”, “Theater Steps: Musical Theatre”, “Theatre Steps: Talks about the Theater”). Educational developments for children (“Musical Theater Guide”) provide for the independent performance of some tasks by the child at home in order to consolidate the impressions of the information received in the classroom.

The practice of working on this program shows that by the end of the third year of study, children adequately perceive, analyze the images of the surrounding reality and creatively reflect them, embodying ideas and fantasies by means of acting expressiveness. They master the necessary elementary knowledge, skills and abilities of a young musical theater actor, which include pantomime, artistic expression, singing and musical movements, and apply the acquired knowledge, skills and abilities in practice in the process of staging a musical performance as a performer of a specific role.

Children show a steady interest in musical and theatrical art and an age-appropriate level of musical and theatrical literacy, erudition and audience culture, which is ensured by the conscious perception of works of musical and theatrical genres (opera, ballet, operetta, musical, etc.).

conclusions

Music plays a special role in the upbringing of a child. Preschool age is the period when the initial abilities are laid, which determine the possibility of introducing the child to various activities, including music.

In the musical education of children, the following types of musical activity are distinguished: perception, performance, creativity, musical and educational activities.

Theatrical activity leaves a lot of scope for the creativity of the child himself, allows him to invent this or that scoring of actions himself, to select musical instruments for performance, the image of his hero.

When analyzing training programs that combine theatrical performance and musical education, he showed that almost all the programs used are based on the updated "Program of Education and Training in Kindergarten" ed. M.A. Vasilyeva.

In addition to the M.A. Vasilyeva use technologies with the use of theatrical activities, such as: E.G. Churilova "Methodology and organization of theatrical activities of preschoolers and younger schoolchildren", A.E. Antipina "Theatrical activity in kindergarten" and S.I. Merzlyakova "The Magical World of the Theatre".

At the same time, programs stand apart creative team"Synthesis" and the author's program of E.G. Sanina "Theatre steps".

Conclusion

From a very early age, a child needs to be enriched with vivid artistic impressions, knowledge, and the ability to express their emotions. This contributes to the manifestation of creativity in various activities. Therefore, it is very important to introduce children to music, painting, literature and, of course, theater.

Artistic and creative abilities are one of the components of the overall personality structure. Their development contributes to the development of the personality of the child as a whole.

In the psychological and pedagogical literature, both the musical development and theatrical activity of preschoolers are widely considered. However, the possibilities of theatrical activity of children in the musical development of children have not yet been the subject of a special study.

The musical component of theater classes expands the developmental and educational possibilities of the theater, enhances the effect of emotional impact on both the mood and the worldview of the child, since the coded musical language of thoughts and feelings is added to the theatrical language of facial expressions and gestures.

Theatrical activity includes the following moments of musical development: dramatization of songs; theatrical sketches; folklore holidays; fairy tales, musicals, vaudeville, theatrical performances.

When analyzing training programs that combine theatrical action and musical education, he showed that almost all the programs used are based on the updated "Program of Education and Training in Kindergarten" ed. M.A. Vasilyeva.

In addition to the M.A. Vasilyeva use technologies with the use of theatrical activities, such as: E.G. Churilova "Methodology and organization of theatrical activities of preschoolers and younger schoolchildren", A.E. Antipina "Theatrical activity in kindergarten" and S.I. Merzlyakova "The Magical World of the Theatre".

At the same time, the programs of the creative group "Synthesis" and the author's program of E.G. Sanina "Theatre steps".

Based on the results of the analysis of psychological and pedagogical literature, the following conclusion can be drawn: the process of theatrical activity of a preschooler is inextricably linked with the musical development of the child.

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Annex 1

Children's Drama Theatre.

Turnip (L. Polyak)

A play in one act, in two scenes

Characters

Grandfather, Baba, Turnip, Granddaughter, Bug, Cat, Mouse.

Picture one

Scenery on the stage: a hut, a garden. The curtain opens. Grandfather and Baba are arguing at the porch.

Voice off stage.

Lived in a village grandfather

Together with Grandma for many years.

Grandfather.

Get ready, Grandma, Grandpa

Steamed turnips for dinner.

(Grandma waves him off, shakes her head.)

In vain you do not rebuke me,

Get ready to live!

Grandmother (stomps her foot, waves her hands at Grandfather, then spreads her arms).

You made me very angry!

Eat porridge! Well, there is no turnip!

If you want a turnip - so go

Plant in the garden.

Grandfather.

Well, I guess I'll go

Yes, I'll plant a turnip.

In fact, I'm going -

I will plant a sweet turnip.

The turnip has grown...

(Baba goes to the hut. Grandfather plants a turnip in the garden: imitates digging with a shovel, sows seeds.)

Turnip (slowly rises, singing).

Respected by the people

I grow in the garden.

(He straightens up to his full height.)

So it has grown big.

(Looks at himself admiringly.)

How good am I!

(Turns around, dancing.)

Sweet and strong

I am called Repka!

Grandfather (admiringly).

The turnip has grown...

Haven't seen one, right!

What a miracle of miracles!

Turnip - almost to heaven!

(He approaches, grabs the turnip with his hands, tries to pull it out.)

Dernu-ka ... It was not there -

One is not strong enough.

What should I do? How to be here?

I'll call Grandma to help.

Come on, Grandma, come on

Look at the miracle turnip!

(Grandma approaches, Grandfather points to a turnip with his hand.)

Grandfather.

I really want turnips

Yes, you see, the roots are strong

The turnip stuck to the ground...

Help me, do me a favor!

Grandmother (shakes her head in surprise).

I lived for many years

But she didn't see that.

(Pointing to the turnip, he says admiringly.)

The truth is a miracle of miracles:

Turnip almost to the sky!

I'll grab Grandpa,

Let's pull the turnip together.

(Grandfather and Baba are trying to pull out a turnip together.)

Grandmother (loud orders).

Once - here it is!

Once - that's it!

(Wiping the sweat off his face, lamenting.)

Oh! .. Do not pull out in any way ...

Respected by the people

I grow in the garden.

That's how big I am!

How good am I!

Sweet and strong

I am called Repka!

to you with such a beauty

Nothing to do!!!

Grandmother (showing her palms to Grandfather).

Know that my hands are weakened.

Call my granddaughter for help

Come on, Mashenka, run,

Help pull the turnip!

Granddaughter (runs out skipping, singing merrily).

I run to help.

Where is he, the naughty vegetable?!

My arms are not weak.

I'll grab onto Baba's jacket.

No matter how hard you cling,

We will overpower you, Repka!

(Grandfather, Baba, and Granddaughter are trying to pull out a turnip.)

Granddaughter (loud orders).

Once - here it is!

Two - that's it!

(Shakes hands in surprise.)

No! Don't pull out...

Turnip (sings and dances).

Respected by the people

I grow in the garden.

That's how big I am!

How good am I!

Sweet and strong

I am called Turnip.

With a beautiful turnip

And the three of us can not cope!

Granddaughter.

That's the turnip! Well, a vegetable!

You know, you have to call for help ...

(Calls the dog.)

Bug! Bug!

Run, help pull the Turnip!

(Bug runs out.)

Bug.

Woof woof woof! Heard:

Grandfather Repa wants to have dinner.

Woof! Bug is ready to help!

I'll cling, woof-woof, for the Granddaughter.

(Grandfather, Baba, Granddaughter and Bug are trying to pull out a turnip).

Bug (commands loudly).

Woof-woof - got it!

Woof-woof - together!

(Surprised.)

Woof!!! And the turnip is in place!

Woof - one more time, that's it!

(Sorrowfully.)

Woof - do not pull out in any way ....

Turnip (sings and dances).

Respected by the people

I grow in the garden.

That's how big I am!

How good am I!

Sweet and strong

I am called Turnip.

With a beautiful turnip

Can't handle four!!!

Bug.

Woof! You have to click the cat,

To help a little.

(Calls a cat.)

Murka! Kitty! Run!

Help pull the turnip!

(Comes out, stepping softly, Murka.)

Murka (affectionately, a little in a singsong voice).

Me-i-u! Mu-u-r! Help me ra-a-da.

What, tell me, to do on-a-do?

Po-nya-la-a, the answer here is pro-o-st:

I'll grab Zhuchkin's tail.

(All together try to pull out the turnip.)

Murka (in command).

Meow - took together!

(Surprised.)

Mu-u-r-r, and the turnip is all in place!

Meow! Moore! More!.. That's it!..

(Sorrowfully.)

Moo-r-r-r. Don't pull out...

Turnip (sings and dances).

Respected by the people

I grow in the garden.

That's how big I am!

How good am I!

Sweet and strong

I am called Turnip.

to you with such a beauty

Five of us can't handle it!!!

Murka.

Moo-r-r. Without a mouse, we see

You can't control Repka.

I'll probably look for the Mouse ...

Hiding somewhere, coward!

(Mouse appears, looks around apprehensively, squeaks, frightenedly stops in front of Murka.)

Cat (gently).

Don't be afraid of me, baby.

I am a neighbor, Murka-cat.

Meow! Moore! Run after me

Help pull the turnip!

Mouse (happily).

Pee-pee-pee! How cute!

I'll help you if you have the strength.

(Turns to the hall.)

If so - do not be afraid

And I'll cling to Murka.

I'm not afraid of cats

And I'll grab my tail!

(The mouse grabs Murkin’s tail, commands: “Pee-wee!” Everyone pulls together and, pulling out the turnip, falls.)

Picture two

Grandfather (addressing the audience).

Is the power of the Mouse great ?!

Well, friendship won!

Pulled a turnip together

That sat firmly in the ground.

Grandmother (turns to Grandfather).

Eat in health, Grandfather,

Long awaited lunch!

Granddaughter (turns to Grandfather).

Treat Grandmother and Granddaughter.

Bug (turns to Grandfather).

Treat the Bug with a bone.

Murka (turns to Grandfather).

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The meaning and tasks of musical education of children in a kindergarten. Age features of preschool children. Methods and techniques used in this process. Drawing up an appropriate program for the musical education of preschoolers.

Galimova Daniya Zulkaramovna, Musical director of MBDOU - kindergarten No. 8 of a combined type.

As you know, the musical and aesthetic education of children is one of the most important tasks. harmonious development personality. But education will be productive only if all the creative possibilities of a small person, all types of musical activities available to preschool age are used. And first of all, it is a theatrical activity. The success of musical education depends on how interesting the work on the musical and aesthetic development of children is.

Most educational programs provide for a combination of various types of musical activities, including theatrical performance. It has a great influence on the development of a child's creative abilities, fantasy, imagination, intellect, artistry, communicative relations are formed, and a friendly attitude towards each other is brought up.

In the process of theatrical games, an integrated upbringing of children takes place: they learn expressive reading, plasticity of movement, singing, playing musical instruments. A creative atmosphere is created that helps each child to reveal himself as an individual, to use his own abilities and abilities.

In our kindergarten, theatricalization is given great attention. Participating in theatrical games, children get acquainted with the world around them through images, colors, sounds. The versatile influence of theatrical games on the personality of the child allows them to be used as a strong, but unobtrusive pedagogical tool, because the child feels relaxed and free during the game.

Theatrical games help create a joyful, relaxed atmosphere.

A special place is occupied by drama games. Here the child plays himself, using his means of expression - intonation, facial expressions, pantomime.

We begin to introduce theatrical games in music classes from the first junior group. Some character always comes to visit the kids: a cat, a dog, a cockerel, etc. Be sure to welcome him, come up with a name for him. Learn to imitate sound with different intonation. We beat all the songs and chants with dolls and other toys.

In the younger groups, we form the simplest figurative and expressive skills in children (the ability to imitate the characteristic movements of fabulous animals): birds fly, peck grains; bunnies jump, dance; horses gallop and others. The whole lesson is based on some kind of plot. Children themselves drive toys, dance with them, learn onomatopoeia, giving the voice an appropriate timbre. Each child tries to show himself, thereby developing facial expressions, plasticity, pure speech and correct intonation. (Photo 1).

At an older age, children actively participate in theatrical games and dramatizations. This type of activity gives children the opportunity to show creativity and imagination. Children themselves are looking for expressive techniques to create a game image: they come up with the characteristic movements of the characters, facial expressions, different intonations, gestures.

Since theatricalization is closely interconnected with the main types of musical activity, the need to systematize it in a single pedagogical process obvious.

Consider innovative forms and methods in various types of musical activity.

1. To perceive music, we use the method of active listening.

Active perception is listening to a piece of music and the simultaneous transmission of the characteristic features of a musical-playing image by different types of musical creativity.

One of the main pedagogical means activation of musical perception is theatricalization, playing (intonational-speech and figurative-plastic) musical image by the teacher and children.

We pay great attention to the independent selection of movements in accordance with the nature of the music, the ability to emotionally respond to music, we develop children's speech, their imagination.

Singing. chanting.

To master singing skills, we use Alla Evtodieva's wonderful chants, which are based on dialogues between different characters of fairy tales. The chanting is designed for the conscious voicing of the voices of the heroes of familiar fairy tales, involving singing in a medium and high voice. It's role-playing, acting out theatrical and musical etudes with the help of voice, facial expressions and gestures effectively and qualitatively improves the effectiveness of these game exercises, allows children to quickly and successfully master the technique of pure intonation, artistry in singing, contributes to the development of both vocal and theatrical abilities of the child.

Such game chanting is multifunctional:

1. Thanks to the game situation, it develops the figurative imagination of children, children's conscious understanding of the correct choice of voice (low or high) in connection with voicing familiar characters.
2. Develops diction, articulation, breathing in singing.
3. It develops the creative abilities of children, forms the skills of theatrical activity, since game singing involves playing theatrical sketches using various facial expressions and gestures of the characters, singing in roles.
4. Game chanting can smoothly turn into a musical game - dramatization, dance, repetition and consolidation of musical and rhythmic movements, playing music.

Very helpful at work finger games. The value of finger games in the context of the development of children's musicality lies in the fact that they represent the first experiences of performing artistry.

Work on texts with gesture drawings also contributes to the activation of abstract and figurative-associative thinking. Finger games are original and interesting because they are a miniature theater where the actors are fingers.

Finger games:

• develop muscles, fine motor skills, tactile sensitivity;
• "anticipate" consciousness, its reactivity (due to the speed of change of movements);
• increase the overall level of organization of the child;
• aimed at developing a sense of rhythm, dictional motor skills of speech, expressive speech intonation, coordination of movements.

We begin work on finger games from the earliest preschool age, using texts that are short in volume and simple in content, accessible to children.

In older preschool age, finger games become more complicated, gestures

become the most symbolic, as a result of which the games turn into a real finger-speech theater. (Appendix 1. Photo 2, 3).

Speech games allow children to master all the expressive means of music. Speech music-making is necessary, since musical ear develops in close connection with speech hearing. In speech games, the text is sung or recited rhythmically by a choir, solo or duet. The basis is children's folklore. Musical instruments, sounding gestures, movement, sonorous or coloristic means are added to the sound. In addition, the formation of human speech occurs with the participation of gestures that can accompany, decorate or even replace words. Plasticity introduces pantomime and theatrical possibilities into speech music-making. The use of speech games in music classes, theater classes effectively affects the development of emotional expressiveness of children's speech, motor activity. (Annex 2).

In our work we use non-traditional forms development of musicality. This is rhythmic declamation and melody declamation.

Melodeclamation - reading poetry or text accompanied by music and singing part of the text.

Rhythmic declamation is a synthesis of music and poetry. It can be defined as a musical and pedagogical model in which the text is not sung, but is rhythmically recited.

The main goal of rhythmic recitation is, first of all, the development of a musical, poetic ear, a sense of the word, and imagination. The main rule of rhythmic recitation: every word, every syllable, sound is reproduced meaningfully, with a sincere attitude of the performer to the sounding speech. One and the same text can be colored with different emotions, because attitude towards the same character or event can change in different ways.

Rhythmic declamation is a speech game that implies creative freedom in the intonational-rhythmic performance of the text. Depending on the goals and objectives, almost any model can be "develop" to level "theatrical performance" , in which recitation, dance, singing, playing instruments, pantomime, improvisation, etc., can be combined in a variety of ratios, as well as complemented by artistic and visual activity. Such forms are born gradually, sometimes unexpectedly, in the process of working on a model, they really like children and help them express themselves in a new situation, take a different look at already known things, enrich the artistic impressions of children, contribute to the development of imagination and the ability to improvise.

The use of these technologies and methodological forms in practice makes it possible to achieve the main goal: creating an atmosphere of joyful communication, high spirits and harmonious self-awareness during music classes, holidays.

Thus, theatrical games in music classes allow solving many pedagogical problems related to the formation of the expressiveness of a child's speech, intellectual and artistic and aesthetic education.

Theatrical activity is an inexhaustible source of development of feelings, experiences, emotional discoveries, a way of familiarizing with spiritual wealth. As a result, the child learns the world with his mind and heart, expressing his attitude towards good and evil; learns the joy associated with overcoming the difficulties of communication, self-doubt.

With skillful pedagogical guidance and a variety of topics, means of representation, emotionality, theatrical games make it possible to use them for the purpose of comprehensive education and development of the individual. (photo 4,5, 6).

Bibliography:

1. E.A. Antipova Theatrical activity in kindergarten: Games, exercises, scenarios. 2nd ed., revised. - M .: TC Sphere, 2009;
2. O.A. Arsenevskaya System of musical and recreational work in kindergarten: classes, games, exercises. - Volgograd: Teacher, 2011.
3. T.A. Borovik "Methodology for the development of children's musicality" ; magazine "Music Director No. 1-6 2004
4. A.A. Evtodieva Learning to sing and dance while playing: a methodological and practical guide to teaching singing and movements in a playful way. – Kaluga, 2007.
5. O.V. Katser Game method of teaching children to sing: Proc. Benefit. - 2nd ed., add. - St. Petersburg: Publishing house "Music Palette" , 2008.

Annex 1

Finger fairy tale "Mitten"

Because of the forest, because of the mountains Children slap their hands
Grandfather Egor stomped. On the knees.
He was in a hurry to go home - They show the reverse side
Dropped the mitten. palms with the thumb extended upwards-gesture "Mitten" .

The mouse ran across the field "Run" fingers of one hand on the other hand.
I saw a mitten. Gesture "Mitten" .

Nobody is waiting for a mouse here? They threaten with a finger.

I began to live, live,
Sing songs loudly. Claps.
Bunny ran across the field, Gesture "Bunny" .
I saw a mitten. Gesture "Mitten" .

Who, who lives here? They knock with the right fist on the left palm.
Does he sing a song loudly? Claps.
The mouse invited the bunny, His name is, gesturing with his right hand.
She drank sweet tea. Arms extended forward, palms folded in the form of a cup.

Bunny jump, bunny jump,
I baked delicious pies. "Bake" pies.
As a fox walked across the field, Soft movements with the hands.
I saw a mitten. Gesture "Mitten" .

Who, who lives here? They knock with the right fist on the left palm.
Does he sing a song loudly? Claps.
And the fox was invited, Soft movements of the hands.
They served pies. "Bake" pies.

I began to live there
Sweep the floor with a broom. Hand movements left and right.
The bear was walking across the field, Knocking his fists on his knees.
I saw a mitten. Gesture "Mitten" .

Who, who lives here? They tap with the right fist on the left palm.
Does he sing a song loudly? Claps.
The animals were frightened, Squeeze your fingers in "lock" .
They fled in fear. Extend your arms to the sides.

Application 2:

Speech games with musical instruments

Matryoshka and Petrushka.

Here come the funny nesting dolls
Knock Knock!
They brought us painted spoons.
Knock Knock!

We played on spoons.
Tuki-tuki! Knock knock!
Our spoons danced.
Tuki-tuki! Knock-Knock!

Here runs our friend, Petrushka,
Trinity.
He brought the children rattles,
Trinity.

Rattles rang -
Trin-trib-trib! Trin-trib-trib!
They sang a song loudly -
Tren-di, tren-di, tren-di-tren!

Knock-knock, knock-knock,
Trin-tren-tren-di-tren!
It will be fun to play
Our orchestra all day long!

Shur-shur-song
In the silence, the rustlers rustle:
Shur-shur, shur-shur, shur-shur.
They look like mice.

Shur-shur, shur-shur, shur-shur. Children play on "squeakers" - sultans with paper or polyethylene strips.
And somewhere a purring cat sleeps.
Mur-mur, mur-mur, mur-mur.
In his sleep he sings a song:

Mur-mur, mur-mur, mur-mur.
Children play on triangles.
Shur-shur! Purr purr!
Shur-shur! Purr purr!

Cheerful orchestra.
"Boom Boom! Tram-there-there!” -
The drum beat.
"Tuki-tuki-toshki!" -

Played spoons.
"rosary-rosary" , -
Rattles rattle.
"Ding dong, ding dong!" -

The metallophone rang.
"Ban-ban balalal!" -
The triangle is up!
"Bumba-boomba!" -

The rumba has struck!
And now we need
Play all together.

From the experience of the pedagogical work of the music director

MBOU - Pervomaiskaya secondary school

(preschool department)

Filimonenko Natalia Evgenievna

"Musical - theatrical activity - as a factor in the development of creative abilities of preschool children"

Klintsy

2014.

Plan:

Introduction…………………………………………………………………………… 3

I. Theoretical part………………………………………………………….. 6

1.1 The experience of domestic teachers in musical and theatrical activities in kindergarten 6

1.2 Classification of theatrical games ..……………………………15

1.3 Making theatrical puppets and scenery……………………..20

II. Practical part (from personal experience)…………………………………….31

2.1 Management of musical and theatrical activities. ... ... 31

2.2 The role of music in creating the image of the performance………………………………………………………………………………………………………………………………………44

2.3 The role of the educator and parents……………………………………….45

2.4 Development of singing abilities in musical and theatrical activities…………………………………….…...46

2.5 Development of dance abilities in musical and theatrical activities ... 50

2.6 Rules of puppetry……………………………………………….51

2.7 Diagnostics of the examination of the level of development of children in musical and theatrical activities ... 53

The effectiveness of the experience……………………………………………………………57

Conclusion………………………………………………………….………………59

References…………………………………………………………………60

Application…………………………………………………………….………...62

« None of the arts has

such an effective educational

force, as musically theatrical

activity that is a means

spiritual self-consciousness of a person ... "

G. V. Kuznetsova.

“The theater is a magical world.

He gives lessons in beauty, morality

and morality.

And the richer they are, the more successful

the development of the spiritual world

children..."

B.M. Teplov

Introduction

Preschool age is one of the most crucial periods in the life of every person. It is during these years that the foundations of health, harmonious mental, moral and physical development child, a person's personality is formed. In the period from three to seven years, the child grows and develops intensively. Therefore, it is so important from early childhood to attach the interest of a small person to his native culture, theater, literature, painting, music. The sooner this is started, the more results can be achieved.

The unique abilities of each child are most fully manifested and developed in creative activities, one of which in kindergarten is theater. To captivate children with art, to teach them to understand beauty is the main mission of the music director. Musical and theatrical activity in kindergarten is the most common type of children's creativity and a form of entertainment in kindergarten, which is closely related to the musical development of children. It is the most popular and exciting destination. In this activity, children become participants in various events from the life of people, animals, plants, learn to notice good and bad deeds, show curiosity, they become more relaxed and sociable, learn to clearly articulate and express their thoughts.

Musical and theatrical activity turns for them into

real holiday. Music helps to convey the character of the characters in motion, the characters sing and dance. Enrichment with musical impressions occurs, creative activity, purposefulness, perseverance awakens, forms emotional responsiveness to music, modal feeling, musical and auditory representation, sense of rhythm. Children like to play songs themselves, play out the actions of fairy tales, familiar literary plots. Music evokes joyful emotions, develops children's memory, speech, aesthetic taste, promotes the manifestation of creative initiative, the formation of the child's personality, the formation of his moral ideas, relieves tightness and stiffness, develops a sense of rhythm and coordination of movements, plastic expressiveness and musicality, the ability to use intonation, expressing the main feelings, a respectful attitude towards each other is formed.

Obviously, musical and theatrical activities teach children to be creative individuals, capable of perceiving novelty, the ability to improvise.

The current stage of development of the system of preschool education is characterized by the search and development of new technologies for teaching and educating children. Theatrical activities contribute to the implementation of new forms of communication with children, an individual approach to each child.

Target: The development of children's creative abilities in musical and theatrical activities.

Tasks:

1. Awaken in the soul of every child a sense of beauty and instill a love of art, activate the cognitive interest of children;

2. Develop visual and auditory attention, memory, observation, resourcefulness, fantasy, imagination, imaginative thinking;

3. To form the need for children to be spiritually enriched through theatrical activities, music;

4. To form in children theatrical and creative abilities, skills of theatrical culture.

5. To develop communication skills in children: the ability to communicate with adults and children, based on the rules of speech communication, to encourage the ability to build role-playing dialogues in the process of playing out a fairy tale.

6. Remove tightness and stiffness;

7. Create conditions for the development of children's creative activity.

8. Develop the ability to arbitrarily respond to a command or a musical signal.

9. Replenish and activate the vocabulary of children, introduce children to the basic theatrical terms (Appendix No. 15).

7. Interest parents in making costumes and attributes for the performance, creating joint creative work with children.

8. Increasing trust in teachers.

9. To teach the child self-expression in musical and theatrical activities.

8. Formation in children of interest in the game of dramatization, to promote the development of the communicative qualities of preschool children by means of theatrical - gaming and musical activities. To promote harmonization of relations between children and adults.

9. Use in this activity: theatrical games, musical performances, fairy tales, skits, puppet theater performances;

I. Theoretical part

1.1. The experience of domestic teachers in organizing musical and theatrical activities in kindergarten

An analysis of the practice of preschool education allows us to conclude that more and more attention is paid by teachers to the disclosure of the potential of the child, his hidden talent means of theatrical art.

Currently, there are many programs for educating and educating preschoolers in the process of theatrical activity, which is extremely relevant from the point of view of a creative approach to personal development. Let's consider some of them.

The program for the organization of theatrical activities of preschoolers and younger schoolchildren "Art - Fantasy" by E. G. Churilova.

The program focuses the teacher on creating conditions for activating the child's aesthetic attitudes as an integral characteristic of his worldview and behavior. The content of the program allows to stimulate the ability of children to imaginative and free perception of the surrounding world (people, cultural values, nature), which, developing in parallel with the traditional rational perception, expands and enriches it.

Purpose of the program: the development of aesthetic abilities by means of theatrical art is to harmonize the relationship of the child with the outside world, which in the future would serve as protection from social and interpersonal confrontations.

The main objectives of the program: development of aesthetic abilities; development of the sphere of feelings, complicity, empathy; activation of the thought process and cognitive interest; mastering the skills of communication and collective creativity.

The program consists of five sections of work with children of the senior and preparatory groups of the kindergarten:

1. Theatrical game. Not so much the child's acquisition of professional skills and abilities, but the development of play behavior, aesthetic sense, the ability to be creative in any business, the ability to communicate with peers and adults in any life situations. Games in this section are conditionally divided into educational, special, theatrical.

2. Rhythmoplasty. It includes complex rhythmic, musical, plastic games and exercises that ensure the development of a child's natural psychomotor abilities, gaining a sense of harmony of his body with the outside world, developing freedom and expressiveness of body movements.

3. Culture and technique of speech. It combines games and exercises aimed at developing breathing and freedom of the speech apparatus, the ability to master correct articulation, clear diction, varied intonation, logic of speech and orthoepy. The section includes word games that develop figurative speech, creative imagination, the ability to compose short stories and fairy tales, and select the simplest rhymes. Exercises are divided into three types: breathing and articulation; diction and intonation; creative word games.

4. Fundamentals of theatrical culture. Mastering children with elementary knowledge and concepts, professional terminology of theatrical art. The main topics of the section: features of theatrical art; types of theatrical art; the birth of the play; theater outside and inside; viewer culture.

5. Work on the performance- an auxiliary section based on the author's scenarios, includes the following topics: acquaintance with the play; from sketches to performances.

The program "Theater - creativity - children: we play puppet theater" by N. F. Sorokina, L. G. Milanovich.

The program is focused on the comprehensive development of the child's personality, his individuality. It systematizes the means and methods of theatrical and gaming activities, substantiates their distribution in accordance with the psychological and pedagogical characteristics of the stages of preschool childhood.

Main goals: consistently introduce children to all age groups with various types of theater (puppet, drama, opera, ballet, musical comedy, folk farce); stage-by-stage development by children of various types of creativity by age groups; improvement of artistic skills in terms of experiencing and embodying the image, modeling the skills of social behavior in given conditions.

The program consists of four sections corresponding to the age periods of preschool childhood (3-4 years old, 4-5 years old, 5-6 years old, 6-7 years old). It highlights two types of tasks:- educational, aimed at the development of emotionality, intelligence, communication skills of the child by means of children's theater;

Educational, directly related to the development of artistry and stage performance skills necessary to participate in the children's theater.

The program "Theatrical classes in kindergarten" by M. D. Makhaneva.

The program promotes the implementation of new forms of communication with children, an individual approach to each child, non-traditional ways of interacting with the family.

In accordance with the inclinations and interests of children, the work of the studios is organized: “Puppet Theater for Kids”, “Theater Salon”, “In

visiting a fairy tale”, etc.

The object-spatial environment provides for the joint theatrical activities of children, is the basis for the independent creativity of each child, a kind of form of his self-education, while the program takes into account: the individual socio-psychological characteristics of the child; features of his emotional and personal development; interests, inclinations, preferences and needs; curiosity, research interest and creativity.

Designing a zone for theatrical activities of children involves observing the basic principles of building an object-spatial environment: ensuring a balance between the joint and individual activities of children; organization of "privacy zones"; granting the right and freedom of choice; creation of conditions for modeling, search and experimentation; the functionality of the use of premises and equipment.

Theatrical classes include acting out fairy tales, skits, role-playing dialogues based on illustrations, independent improvisations on topics taken from life (a funny incident, an interesting event, etc.); watching puppet shows and talking about them; dramatization games; acting out fairy tales and dramatizations; exercises on the formation of expressiveness of performance (verbal and non-verbal); exercises for the social and emotional development of children.

The program "Theatrical activity in kindergarten" by E. A. Antipina.

Purpose of the program: development of artistic abilities of children through theatrical activities.

Tasks and methods: consistent acquaintance with the types of theater; stage-by-stage mastering by children of types of creativity by age groups; improving the artistic skills of children; emancipation of the child; work on speech, intonation; collective actions, interactions; awakening in children the ability to vividly imagine what is happening, to sympathize, empathize.

Principles: improvisation, humanity, systematization of knowledge, consideration of individual abilities.

The content of classes in theatrical activities includes: watching puppet shows and talking about them; dramatization games; exercises for the social and emotional development of children; correctional and educational games; diction exercises (articulatory gymnastics); tasks for the development of speech intonation expressiveness); transformation games, figurative exercises; exercises for the development of plasticity; rhythmic minutes (logorhythmics); finger game training for the development of hand motor skills; exercises for the development of expressive facial expressions, elements of the art of pantomime; theatrical sketches; individual ethics exercises during dramatizations; preparation and acting out of fairy tales and dramatizations; acquaintance with the text of a fairy tale, the means of its dramatization - gesture, facial expressions, movement, costume, scenery, mise-en-scene.

Program "Childhood".

Theatrical activity is integrative, in it perception, thinking, imagination, speech act in close relationship with each other, manifest themselves in different types children's activity (speech, motor, music, etc.) and creativity in three aspects (O. Akulova):

Creation of dramatic content (interpretation, rethinking of the plot given by the literary text or writing a variable or own plot);

Execution of one's own plan (the ability to embody an artistic image with the help of expressive means: intonation, facial expressions, pantomime, movement, melody);

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

The theatrical-playing activity of a preschooler must become self-valuable, free, creative in order to resolve the contradictions: between the freedom of the child in the game and the obligatory content basis of theatricalization; the improvisational nature of the game and the staged preparation of theatricalization; the emphasis in the game on the process itself, and in theatricalization on its result.

Theatrical and game activity of children is considered in two interrelated aspects: as a kind of artistic activity, integrating with literary, musical and visual; as a creative story game based on the independent play experience of the child.

Children's musical creativity is an important factor in the development of a child's personality. It can manifest itself in all types of musical activities: singing, dancing, playing children's musical instruments. According to O. P. Radynova "Children's musical creativity by its nature is a synthetic activity." Children usually improvise spontaneously, in various games. They sing a lullaby to the dolls, sing a march for the soldiers, willingly compose songs, come up with melodies for a given text.

Children love to stage songs, come up with movements for round dances. In this they are helped by the literary text and the character of the music. If an adult does not show ready-made movements during performances, then children can create original, original images expressed in movements.

Researched the problem of abilities B. M. Teplov, noting that abilities are always the result of development. They exist only in development. It follows from this that abilities are not innate. They develop in the corresponding concrete activity. But natural inclinations are innate, which influence the manifestation of certain abilities of the child.

Creative abilities can manifest themselves in each child in different ways, depending on the natural inclinations and the development of basic musical abilities. Therefore, it is necessary to approach the issue of developing the creative abilities of children individually, taking into account the characteristics of each child.

The possibilities of children in performing creative tasks in musical activities have been carefully analyzed in studies N. A. Vetlugina. It was found that necessary condition The emergence of children's musical creativity is the accumulation of impressions from the perception of art, which are the source of creativity, its model. Therefore, it is necessary to use works of art to enrich the creative experience of children. This is listening to classical music, looking at paintings, reading fiction, watching performances.

L. S. Khodonovich notes that for the development of song creativity in a child, it is necessary to develop basic musical abilities: modal feeling, musical and auditory representations, a sense of rhythm.

The success of children's creative manifestations depends on the strength of singing skills, on the ability to express certain feelings and moods in singing, as well as to sing clearly and expressively.

Children's creative manifestations in rhythm and dance are an important indicator of musical development. The child begins to improvise, create his own musical and playful image, dance, if he has a developed perception of music, its character, expressive means, and if he owns motor skills. The activity of children in dance creativity largely depends on learning musical and rhythmic movements.

According to E. Gorshkova - it is necessary to prepare children for musical creativity when teaching dance with separate movements. She proposes to teach children the simplest techniques of dance composition, which are variants of specific ways of embodying a particular content. A story dance can help in solving this problem.

L. S. Khodanovich notes the importance of equipping dance creativity, both in kindergarten and in the family: musical accompaniment, various costumes and attributes, space for dancing.

L. S. Khodanovich for the development of children's instrumental creativity, it offers not only to teach children certain skills, but also to use a variety of creative tasks.

She recommends giving such tasks in an emotional, figurative form, as well as awakening the imagination and fantasy of children with poetic comparisons, using fairy tales, which helps to emancipate the children, interests them and helps to color children's improvisations with various feelings.

Thus, for the successful development of children's creative abilities in musical activity, the following conditions are necessary:

Compliance with the principle of freedom;

Accumulation of impressions from the perception of art;

Accumulation of performing experience (singing, movement, playing musical instruments);

Development of basic musical abilities;

Equipping musical creativity, both in kindergarten and in the family, with musical accompaniment, various costumes and attributes, space for dancing, children's musical instruments.

According to modern scientists who study the problems of preschool education, the disclosure of the inner qualities of a person and the self-realization of his creative potential is most facilitated by artistic and aesthetic education, part of which is the development of children in theatrical activities.

Thus, all the programs and technologies we have considered are aimed at revealing the creative potential of the child, developing his communication abilities, mental processes, providing the expression of the individuality of the individual, understanding the inner world through theatrical activities.

1.2 Classification of theatrical games

There are many points of view on the classification of puppet theater games for preschool children that make up musical and theatrical activities.

For example, teachers L. V. Kutsakova, S. I. Merzlyakova (program "Dewdrop") consider:
- desktop puppet theater (theater on a flat picture, on mugs, magnetic desktop, cone, toy theater (ready-made, self-made));
- poster theater (flanelegraph, shadow, magnetic poster, stand - book);
- theater on the hand (finger, pictures on the hand, mittens, gloves, shadows);
- riding puppets (on gapit, on spoons, bibabo, cane);
floor puppets (puppets, cone theater);
- theater of a living puppet (theater with a "live hand", life-size puppets, people-puppets, a theater of masks, tanta - moreski).
For example, G. V. Genov classifies the types of theaters for preschoolers as follows:
- cardboard;
- magnetic;
- desktop;
- five fingers;
- masks;
- hand shadows;
- "live" shadows;
- finger shadow;
- theater book;
- puppet theater for one performer.

L. V. Artyomova proposes a classification directorial games in accordance with the variety of theaters (table, planar, bibabo, finger, puppet, shadow, flannelograph, etc.).

Tabletop toy theater. Toys, handicrafts are used, which are stable on the table and do not interfere with movement.

Tabletop Picture Theater. Characters and scenery - pictures. Their activities are limited. The state of the character, his mood is conveyed by the intonation of the player. Characters appear in the course of action, which creates an element of surprise, arouses the interest of children.

Book stand. Dynamics, the sequence of events is depicted with the help of successive illustrations. Turning over the sheets of the stand-book, the presenter demonstrates various plots depicting events and meetings.

flannelgraph. Pictures or characters are displayed on the screen. The flannel that covers the screen and the reverse side of the picture holds them back. Instead of flannel, pieces of velvet or sandpaper can be glued to the pictures. Drawings are selected together with the children from old books, magazines or created independently.

Shadow theater. It requires a screen made of translucent paper, flat black characters, and a bright light source behind them, thanks to which the characters cast shadows on the screen. The image can also be obtained with the help of fingers. The display is accompanied by the corresponding sound.

Games - dramatizations can be performed without spectators or have the character of a concert performance. If they are played in the usual theatrical form (stage, curtain, scenery, costumes, etc.) or in the form of a mass plot spectacle, they are called theatricals.

L. V. Artyomova proposes a classification dramatization games: games - imitations of images of animals, people, literary characters; role-playing dialogues based on the text; dramatization of works and songs; staging performances based on one or more works; games - improvisations with playing the plot without prior preparation. Dramatizations are based on the actions of the performer, who may use puppets.

Theatrical play can be divided into two groups: directing and dramatization.

In director's game the child is not a protagonist, acts for a toy character, himself acts as a screenwriter and director, manages toys or their deputies. This independence in inventing the plot is considered especially important for the further formation of the game and imagination. (E. E. Kravtsova)."Voicing" the characters and commenting on the plot, he uses different means of expression. The predominant means of expression in these games are intonation and facial expressions, pantomime is limited, since the child acts with a fixed figure or toy.

An important feature of these games is the transfer of function from one object of reality to another. Their similarity with the director's work is that the child comes up with mise-en-scenes, i.e. organizes the space, plays all the roles himself, or simply accompanies the game with an "announcer" text.

In these games, the child director acquires the ability to "see the whole before the parts", which, according to the concept V. V. Davydova, is the main feature of the imagination as a neoplasm of preschool age.

Directing games can be group games: everyone leads toys in a common plot or acts as a director of an impromptu concert or performance. At the same time, the experience of communication, coordination of ideas and plot actions is accumulated.

Types of games - dramatizations:

Dramatization games with fingers. Attributes the child puts on his fingers. He "plays" for the character whose image is on the hand. As the plot unfolds, he acts with one or more fingers, pronouncing the text. You can depict actions while being behind a screen or moving freely around the room.

Dramatization games with bibabo dolls. In these games, bibabo dolls are put on the fingers of the hand. They usually operate on a screen behind which the driver stands. Such dolls can be made independently using old

Improvisation It is acting out the plot without prior preparation.

In traditional pedagogy games - dramatizations are classified as creative, included in the structure plot - role play .

Dramatization game is considered within the framework of theatrical games as part of the structure of the role-playing game along with the director's game. However, the director's game, including such components as an imaginary situation, the distribution of roles between toys, simulation of real social relations in a playful way. Its organization does not require a high level of game generalization, which is necessary for a role-playing game. (S. A. Kozlova, E. E. Kravtsova).

During the theatrical games:

· expand and deepen children's knowledge of the world around them;

· mental processes develop: attention, memory, perception, imagination;

· mental operations are stimulated;

· there is a development of various analyzers: visual, auditory, speech and motor;

· vocabulary, grammatical structure of speech, sound pronunciation, coherent speech skills, melodic-intonational side of speech, tempo, expressiveness of speech are activated and improved;

· motor skills, coordination, smoothness, switchability, purposefulness of movements are improved;

· the emotional-volitional sphere develops;

· behavior is corrected.

· a sense of collectivism, responsibility for each other develops, the experience of moral behavior is formed;

· the development of creative, search activity, independence is stimulated;

· participation in theatrical games gives children joy, arouses active interest, captivates them.

1.3 Production of theatrical puppets and scenery

To organize theatrical activities, you can use toys and dolls produced by the industry (table theaters, bibabo). But toys made by the children themselves have the greatest educational value, which develops visual skills, manual skills, and creative abilities.
Table theater toys can be made of paper, cardboard, foam rubber, boxes, wire, natural materials, etc.
The easiest to make is flannelgraph. Draw figures on thin cardboard, cut them out, stick pieces of flannel on the reverse sides. Screen: cover thick cardboard with a piece of flannel (35x30 cm).
Flat toys.
The characters are drawn on thin cardboard, cut out, the image is placed on cardboard, the second part is outlined and cut out. Glue both parts by inserting a thin stick between them or paper tube(screw the paper smeared with glue onto the used rod from the pen, remove the rod). Figures are installed in spools of thread (it is better if the spools are cut in half), on plastic plugs with holes.
You can cut out the drawn figure, leaving a small part of the cardboard below on both halves of the image, so that, by bending these parts and smearing them with glue, glue them to the cardboard circle-stand.
Stands can be wooden, cardboard, but you can do without them - the figure is bent at a right angle in some place. Such a theater can be drawn with paints, felt-tip pens, decorated with appliqué made of paper and fabric.
Toys from cones and cylinders.
Using a compass or stencils, cut out circles of different diameters, fold them in half, cut along the fold lines, glue cones from semicircles, turning them into a figure, glue the details. To make toys from cylinders, glue them from rectangular sheets of thick paper. It is better to decorate with an appliqué made of paper, fabric, lace, braid, threads, buttons, beads, beads, sewn or glued to the craft. It is convenient to glue paper, thin fabrics with starch glue, and it is better to glue cardboard, buttons, beads, ribbon with PVA glue.
Puppets can be made from paper, cardboard, fabric, the heads of characters can be molded to put them on cones. Newspaper is torn into small pieces, filled with water. After the paper is soaked, let the water drain, add a handful of flour and knead the dough (3/4 of the paper pulp and one part of the flour). Put the ball rolled from the mass on a cardboard cone and sculpt the head directly on it.
Heads dry on a cone. Then they are removed, painted, parts are glued (hair, scarf, etc.). Appropriate fabrics are selected for pasting the cones. Slots are made on the cones into which paws, tails, hands are inserted. Having several of these cones, you can quickly design any toy.
Foam toys.
Children are given pre-painted pieces of foam rubber. Coloring is done by the teacher. Aniline dye, diluted in water, must be lowered into a piece of foam rubber as a whole.
To make it better stained, dip the foam rubber into the dye several times and wring it out. Cuts are made, constrictions are made, details are sewn together, unnecessary parts are cut off, the necessary shape is given to the foam rubber.
Magnetic Theatre.
toys made by children paper cones, cylinders, foam rubber, can be adapted for magnetic theater. Pieces of metal are attached with strips of paper to the lower parts of the cones and cylinders. You can put metal pieces into the holes of the coils. Then a stand is made. A piece of fabric is glued to thin plywood to move the magnet under a stand mounted on the edges of two tables placed side by side.
Box toys.
Select boxes of different shapes and sizes (from food, perfumery products, non-flowing medicines, etc.), glue them, glue them with pieces of paper, fabric and decorate with cut out elements.
Any box can be adapted for the doll's head (cardboard packaging from sour cream, paper, plastic, cubic, cylindrical, etc.). It is only important that the child's hand can fit freely in it. There are two manufacturing options: either the box depicts the whole figure, or only the head is made. In this case, a kind of fabric skirt is first put on the arm. At the same time, the hand is hidden in a box, and a skirt with an elastic band hides the arm from the wrist to the elbow.
Such a doll can be made into a talker toy by cutting a hole in place of the mouth. If you move your index finger inside the box near the hole, the illusion is created that the doll is talking.
Toys from natural materials.
Cones, acorns, chestnuts, bark, seeds, bones, etc. are used, which are not held together with plasticine, you need PVA glue, casein or carpentry.
Natural materials are best covered with a colorless varnish. Do not use material that can harm the health of children (burdock, thorns, poisonous plants, fruits and seeds, etc.).
It is more convenient to show a toy theater made from natural materials on the sand. To do this, planks 10 cm high are nailed to the table lid from all sides, sand is poured, decoration is made with the help of roots, bark, pebbles, plant twigs. You can dig a container of water into the sand, then the characters can swim on rafts and bark boats.
Finger theater.
Characters are created from paper, small boxes in which holes are made for fingers. These are miniature figurines made of cones and cylinders that are put on fingers. Figures or only heads are drawn, glued to cardboard rings and put on fingers.
An interesting finger theater made of foam rubber, from which the heads of the characters are cut. In the place where the head should have a neck, a recess is made for the finger. Details are best sewn using multi-colored foam rubber, pieces of fabric.
Characters for finger theater can be made from various types of fabrics. If the fabrics are not loose, the parts must be sewn with a “needle forward” seam on the front side, overcasting “over the edge” or sew the parts from the inside, then turn them out to the front side. Buttons are used woolen threads, braid, lace.
Finger theater made of paper pulp. Small cardboard cylinders are glued together, put on the finger. A lump of paper pulp is placed on the cylinder and the required shape is molded. After drying, paint the heads with paints. You can glue details to them - ears, eyes; from fabric, threads, tow, bast hair turns out well.
Glove puppets.
Characters can be made from old gloves. If you sew a piece of a stocking or pantyhose to a glove, make eyes out of buttons and put such a glove on your hand, you get a snake. She can bend due to the movement of the arm and hand, open her mouth and talk. You can make toys from two old gloves. For one, tie the index finger with the middle finger in pairs, the ring finger with the little finger, cut off the thumb from the glove - this is the tail. Fold the glove in half across, hide the excess parts in the middle of the folded glove. Pull off the ears - the ends of the middle and ring fingers and sew the part at the junction of the ears. You will get a head, you need to sew it to the middle finger of another glove. Then a tail is sewn - the finger that was previously cut off from the first glove, and this is done in the place where the hand ends. It remains to sew on button eyes, a bead nose, and the figure is ready. By changing the shape of the heads and tails, you can make any animal.
When a toy is put on the hand, all its parts (head, four legs) become movable.
The basis of a glove doll can be a four-finger glove. bending over ring finger, put your hand on a sheet of paper and circle it with a pencil - this is a pattern. A glove is sewn from two pieces of cloth cut out along it. An elastic band is threaded into its upper layer. For legs, you can use thimbles or plastic perfume caps. Get a doll - topotushka.
Cardboard doll.
A cardboard doll is attached to the hand with an elastic band. The upper half of the figure is drawn on paper, glued onto thick cardboard and cut out.
Dolls from mittens.
The mitten can represent the doll's head, while the thumb of the mitten serves as the character's nose. The mitten can be turned into a whole animal, then the thumb of the mitten will be the tail, and the mitten itself will be the body, the head and other details are sewn to it. Such a doll has an active tail (thumb). If there are no unnecessary mittens, you can sew them from old knitted items or fabric. In this case, you can not cut out a place for the thumb. Various details are sewn to such a mitten.
Puppet dancers.
They are made from cardboard or plastic. Separately cut out the body, arms, legs. Then they are attached to the body with strings, and a strong wire is attached to the back of the figurine. For such dolls, a special stage is needed with a thin horizontal slot on the back wall, which is made of cardboard and attached to the table with buttons. On the sides there are wide backstage, behind which the figure is placed, a wire is passed through the slot, it is used to bring the doll onto the stage and control the dance movements.
Puppets.
Puppet theater characters are also made from different materials. Details can be sewn according to the principle of making a soft toy according to a pattern, which is superimposed on the fabric, outlined in chalk, cut, simple details are sewn together. The principle of operation of such toys is due to the fishing line tied to the cross.
Toys - jumpers.
To make the characters of such a theater, you will need a thin rubber band (hat). Roll up a ball of paper pulp so that the elastic is inside it, and the tip with the knot remains outside from below. This is the head for the character or the torso. The rest of the details can be glued. In this case, paper, fabrics, foam rubber, wire, oilcloth are used.
Turntables.
They are made by analogy with bouncy toys, but the parts are attached to sticks. When moving with a wand, the dolls actively move, waving their arms and tails.
Bibabo dolls.
The way they work is that they are put on the hand. On the index finger - the head of the doll, and the thumb and middle finger serve as hands. Dresses are sewn for them, decorated with details (pocket, apron, belt). Heads can be made from foam rubber, paper pulp, fabric, papier-mâché.
For the manufacture of fabric heads, any knitwear is suitable: old stockings, tights; unnecessary waffle towels dyed with aniline dye or gouache diluted in water. For the head, cut a circle, gather it around the perimeter on a thread, pull it off slightly, stuff it with cotton wool and pull it off completely. The nose in the form of a small ball is made according to the same principle as the head; hair from washcloths, threads, different fabrics.
Interesting toys that combine a spinner toy and a bibabo. They are made like this: the head is attached to the stick, a strip of fabric is assembled and attached to the stick (neck), and two round holes are cut on the fabric (dress), where the thumb and forefinger are inserted. The originality of the toy is that both hands are involved in the work. The left hand holds a wand, and the fingers of the right hand are inserted into the holes. In such a doll, the head can also turn, and the hands can act more freely (hold the object, clap your hands, etc.).
Balloon puppets.
The head is made from an inflated balloon. The nose can be done like this: separate a part of a slightly inflated balloon and pull it with a thread, it will turn out to be small on a large balloon. The ball is tied to a stick (20-25 cm long), the fabric is sewn with large stitches with a “forward needle” seam, assembled, pulled together and attached to the neck (put on like a hanger). Hands are sewn to the shoulders of the doll - strips of fabric gathered at the end into an elastic band. Rubber bands are worn on the wrist. The doll is controlled by two people. One with the left hand holds the wand in the place where the neck is, the other uses the right hand.

big dolls.
Large dolls (according to the height of the child) are flat and voluminous, preferably made of foam rubber. The child ties ribbons on the back of his neck, which are attached to the doll's head, ribbons on the belt behind his back (like an apron) - at the doll's belt. The child attaches the doll's legs and arms to the wrists and ankles, putting on rubber bands sewn to the doll's arms and legs.
Large cane puppets.
The head is attached to a stick, the hands act with the help of canes (thick wire, sticks). Heads are made of papier-mache, fabric. Dresses are decorated with braid, lace, ribbons that are glued or sewn on.
Flat cane puppets are made of cardboard. The manufacturing principle is the same as for shadow theater puppets, only they are made in large sizes, painted with paints, and decorated with appliqué.
Shadow theater.
Figurines for finger shadow theater are very easy to make. According to the drawing, cut out a head from thin cardboard and attach a paper tube to it (with glue, thread, paper clip) for the performer's index finger. The performer's hand is the torso of the character, and the middle and thumb are the legs.
It is better if the figures have moving heads, limbs, tails. Punctures are made in the details, a piece of wire in a sheath is threaded in and twisted in a spiral on both sides. Eyes: make punctures, widen the holes with a pointed object, stick a piece of colored transparent film on the hole, cover the details with black paint.
"Live" shadows.
"Live" shadows can be created with your hands - the theater of hand shadows, cut-out silhouettes, costumes, false wigs, beards, mustaches. At the same time, the movements should be expressive and clear, the performers should not obscure each other. You can put gloves or socks on your hands to make it look like animal paws. Claws are easy to make from soft wire or tubes for a cocktail (sew, tie, thread into the fabric of mittens).
"Live" dolls (tanta - seas).
“Live” dolls have real, living heads, and torsos, arms and legs are doll-like. Two wooden frames 60x90 cm in size are made. For one frame ( back wall scenes) to pull on black cloth, sew on a suit that can be filled with cotton wool or crumpled paper. Above the suit (near the collar) cut a narrow hole for the performer's head.
From soft wood, cut out two pairs of legs and two pairs of handles. Insert the handles into the sleeves. Insert an awl into the back of each hand, piercing it through the black cloth. Turn the awl - and the doll will wave the handle, grab the upper ends of the legs - they are in motion. Attach a sliding curtain to the second frame.
The table on which the stage is placed is covered to the floor with a tablecloth so that the performer's feet cannot be seen.
The smallest artist
Cover the table with a tablecloth to the floor. One performer stands at the table and puts on boots or boots and a jacket or jacket (back to front) on his hands. He controls the movements of the little artist's legs; his head is the artist's head. The second performer stands behind the first and puts his hands into the sleeves of his jacket. He gestures for the little artist.
Masque.
Masks-caps or mask-hoods are made according to the size of the performer's head, to which the corresponding details are sewn.
Scenery.
Children can independently make trees, benches, a Russian stove from boxes, or make blocks for the palace from several boxes of different sizes and shapes, glue them with paper, and decorate the front with appliqué; flat roofs for the tower, glue them to the boxes.
Theatrical productions of the table theater require frequent changes of scenery. To do this, the scenery needed for the play must be glued onto pieces of cardboard, bound into a kind of book. Put it behind the screen and, turning over the cardboard pages, instantly change the scenery.
You can make a universal design of cardboard or plywood for all types of figures. An arch (similar to a trellis) is carved in the front part - a mirror of the stage. The curtain is made of cardboard or fabric (then a thin round stick is attached behind the “mirror” at a distance of 2-3 cm from it). The dotted line indicates a bar, which can be easily removed, for figures walking on the floor and to hide the hands of the performers.
With this design, the stage scenery can look like a multi-leaf screen or be placed on a cardboard circle. This circle rotates on a thin nail or pin, changes the scenery and shows them in motion.
For a quick change of scenery, they are fixed on a turntable, similar to a clerical tattoo; this is a thick wire driven into a round piece of wood - the base. Behind the turntable is placed a screen of three stretchers covered with gauze, painted in blue or Blue colour. Through such a transparent back, performers will be able to see the entire stage and confidently control the figures.
The scenery for the shadow theater is cut out, like the figures of heroes, from thin cardboard or thick paper. For light moving parts (curtains, flames, clouds, etc.), it is better to use a color film or wrapping paper. It is important to make an upper decoration - a paduga, which hangs on the working frame throughout the performance as the main artistic frame. Paduga sets the theme and color (reflects the season, the scene). Transparencies, filmstrips, slide programs can serve as an original decoration for the performance (colored landscapes, interiors).
Lighting plays an important role in tabletop theatre. Light bulbs should be positioned so that they illuminate the stage well, but block them from the front side - the light should not fall on the audience.
For lighting effects (moonlight, sunrise, etc.) that decorate any theatrical performance, it is necessary to have colored glasses, cellophane, dyed papyrus paper, etc.
For the lighting effects of the shadow performance, a set of colored glasses or films is selected (I.A. Lykova). The easiest way is to bring a piece of colored film or tinted glass to the lamp at the right time.

It is more convenient to use retractable frames on a box with a light source and insert film or glass into them.
Using the backlight, you can show flashes of lightning. Insert a piece of black paper with a crescent of the moon cut out on it, direct the backlight to the screen and slowly move the film with the moon. The audience sees on the screen a moon floating across the dark sky.
If several strips of film are joined together and rotated in front of the light source from side to side, colored rays run across the screen, like fireworks or a spotlight in a circus. Rain can be shown by pouring powder (tooth powder, semolina, fine salt) in front of the lamp from a box with small holes.
Glass decorations - "transparencies" - are easy to make by yourself. Cut pieces of glass according to the size of standard transparencies. Wash the glasses in water with soda, wipe thoroughly with a dry cloth and cover with an emulsion that you can prepare yourself: one part of powdered sugar is mixed with five parts of raw egg white; a small amount of wood glue is diluted in a glass of hot water and brought to a boil (until the mixture becomes transparent); the white of one egg is beaten, left for 5-6 minutes and mixed with two teaspoons of hot water.
When making dolls for theaters with children, first of all, make those characters that are often found in folk tales, works recommended for different age groups. The independent artistic activity of children will be more interesting if children are invited to make and play with different dolls themselves. Playing with them, children create their own fairy tales, fantasize, create. For them, this is a school of communication, self-expression, knowledge, and creativity.

II. Practical part (from personal experience)

2.1 Management of musical and theatrical activities

The topic I have chosen at the present stage is obvious: the use of elements of theatricalization, the development of musical creative abilities, improvisation in the process of teaching and raising children is becoming more and more noticeable, being one of the promising areas of pedagogical thought.

In my work with children, I pay great attention to musical and theatrical activities.

Estimated skills and abilities of children:

1. Are able to act in concert;

2. They are able to relieve tension from individual muscle groups;

3. Remember posture data;

4. Remember and describe appearance any child;

5. Know articulation exercises (Appendix No. 16) ;

6. They know how to build a simple dialogue.

Expected results:

1. Children will learn to stage a familiar fairy tale with the help of a teacher.

2. Preschoolers will get an idea about the theater and theatrical culture.

3. Children will develop a steady interest in theatrical and gaming activities, a desire to participate in a play based on the plot of a familiar fairy tale.

4. Learn to improvise images of fairy-tale characters using various means expressiveness (facial expressions, gestures, movements, intonation).

5. The ability to build role-playing dialogues and coordinate their actions with other children during the performance.

6. The ability to freely stay on stage.

7. Children will become friendlier, a sense of partnership will arise.

8. Parents' interest in the life of children in a preschool educational institution will increase

Getting acquainted with the modern ideas of developmental education, I understood their essence for myself, trying to adhere to it. main principles: development, creativity, game.

I have been defined basic principles, which formed the basis of the experience:

The principle of purposefulness . I take into account that the goals and objectives of my work are based on a single concept of state policy in the field of preschool education.

The principle of accessibility . Based on it, I take into account age features, needs, interests, levels of preparedness of children, their little life experience.

The principle of visualization of learning . I'm thinking:

Didactic goals of the study of visibility,

display method,

The amount of visibility and sequence of demonstration,

A combination of certain types of visualization,

Inclusion of children in the analysis of observed objects,

Compliance with the requirements of the display culture and visual design.

The principle of upbringing and developmental education. I define the main goals of training: cognitive, educational, developing. In the process of work, I encourage children to independently search for improvisation.

The principle of strength. I apply all the formed skills and abilities in practice; carrying out individually - differentiated approach in the process of each lesson.

I use various forms of organization of theatrical activities. In music classes, I taught children to understand the language of music: to hear the beginning and end of musical phrases and whole musical constructions, to analyze what they heard using a complex of musical expressiveness means. In motion , when performing plastic sketches and dance compositions, she taught to convey the moods and feelings of the characters, to create a holistic musical image. All the means used by me in music lessons were aimed at helping the child to better understand music, to penetrate deeper into its content, and then the music helped the children to perform this or that image more expressively.

In my work, I have used musical and theatrical activities for many years, but I began to study in more depth last year with the children of the older group.

In the process of preparation, the methodology for the development of children's creativity in elementary music-making by K. Orff was used (Appendix No. 26 "b") , programs of N. A. Vetlugina, E. P. Kostina, E. A. Dubrovskaya, as well as methodological developments of A. I. Burenina, N. Sorokina, A. V. Shchetkina, G. P. Novikova.

I have attempted to prove that one of effective ways development of musical - creative abilities of preschool children is theatrical activity. It is close and understandable to the child, lies deep in his nature and is reflected spontaneously, because it is connected with the game. The child wants to translate any of his inventions, impressions from the life around him into living images and actions. It is through musical and theatrical activity that every child can express their feelings, emotions, desires and views, not only in private, but also in public, not embarrassed by the presence of listeners. Therefore, in my work on musical education, I include a variety of theatrical games, game exercises, sketches and theatrical performances.

In my opinion, the systematic involvement of preschoolers in theatrical activities leads to significant shifts in the development of musical creative abilities in children.

Selected, analyzed and compiled a musical, playful, literary repertoire, developed the theme of each musical lesson , consulted for teachers (Appendix No. 18) and parents (Appendix No. 12).

The first introduction of preschoolers to the theater occurs through acquaintance with the puppet theater.

Puppet show- this is a fascinating and accessible activity for preschoolers, where a child can show his creative abilities of self-expression and self-knowledge.

When showing performances of the puppet theater, both the artistic word and the visual image are used - a doll, parsley, and picturesque and decorative design. (Appendix No. 21 "g") , and music - song, musical accompaniment. The skillful use of the puppet theater is of great help in the daily work of the kindergarten in the mental, moral, ideological and aesthetic education of preschool children.

Preschoolers love to watch puppet theater performances. He is close to them, understandable, accessible. Children see familiar and beloved dolls: a fox, a wolf, a grandmother, a grandfather, who came to life, moved, spoke, became even more attractive and interesting. However, puppet theater should not be considered only as entertainment. Its educational value is very important. In the preschool period, the child begins to form attitudes to the environment, character, interests. It is at this age that it is useful to show children examples of friendship, kindness, truthfulness, hard work.

The conventions of the puppet theater are close and accessible to children, they are used to it in their games. That is why children are so quickly included in the performance: they answer the questions of the puppets, carry out their instructions, give advice, warn of danger and help the heroes of the performance. The unusualness of the spectacle captures them and takes them to a fabulous, fascinating world. Puppet theater brings great joy to preschoolers.

Of all the types of theater, the following are very popular with us: the theater of pictures, divided by us into pictures on a flannelgraph (Appendix No. 22 "1") and pictures on cardboard, bibabo theater (Appendix No. 22 "2"), toy theatre, table cone theater (Appendix No. 22 "3"), finger theatre.

At senior preschool age The children themselves put on puppet shows. This form of work is very interesting and useful. Such displays develop children's artistic abilities more deeply, teach them to understand and experience the content of literary works. We prepared and showed the fairy tale "Turnip" to the children (Appendix No. 17) , "Teremok" and others. Children played with the arrival of various fairy-tale characters according to the plot of the script (Appendix No. 1, No. 2), prepared a performance in 3 acts (Appendix No. 4).

The effectiveness of the impact of puppet theater performances on young spectators depends on how high the requirements for the choice of a play, decoration, preparation and holding of a puppet show are. I try to do this work qualitatively, and I never forget that puppet show- this is the first introduction of preschoolers to the theater.

Undoubtedly, the involvement of preschool children in theatrical activities requires targeted guidance from the music director and educator. I began my work on introducing theater to older children with conversations, the purpose of which is to form an idea of ​​theater as an art form on an emotional level. This conversation can be called: "Hello theater!" During the conversation, I invite the children to discuss the following questions: "What do the audience do in the theater?", "Who is involved in the performance?", "Who distributes the roles between the artists?", "How do you know where and when the action takes place?", "Who sews costumes for the artists?", "Who draws the scenery?", "How should one behave in the theater?". Then I invite the children to complete creative tasks: acting out the fairy tale "The Chanterelle - Sister and the Gray Wolf", create a performance based on the fairy tale "Hare Hut", write a script and play out a fairy tale (Appendix No. 14).

Naturally, children do not immediately master the ability to properly behave on stage: they are constrained, their speech is not expressive, careless. To help children discover their potential, to realize the need to work on a role, to behave at ease on stage, to be able to convey the essence of their character, special acting training is needed in games - classes. Their goal is to help master the following means of figurative expression :

intonation- I suggest that children pronounce individual words and sentences with different intonations (question, request, surprise, sadness, fear, etc.) on their own, without prompting from an adult.

The purpose of working on intonation- to achieve expressiveness and naturalness.

Poses- first I suggest that the children play familiar games like "The sea is worried"; then depict someone or something in a pose (for example: a karateka, a spider, a birch) and explain why they chose this or that pose. It is useful to give a task on how to find one, but the most striking movement that would make the image (Baba Yaga, fat man, tree ...) easily recognizable.

Gestures- I start with simple stage tasks: how to show the state or feeling of a person with a gesture (very hot, I'm cold, I'm cold, I'm in pain, etc.); the following exercises already include several actions (I sew on a button, wash dishes, draw with paints, etc.).

Mimicry - I teach children by facial expressions (eyes and eyebrows, lips) to determine the mood of a person (Appendix No. 11) , and then with the help of facial expressions to express their emotional condition or a reaction to an imaginary event (ate sweet candy, sour lemon, hot pepper, etc.).

Pantomime which combines plastic poses, gestures and facial expressions. I suggest that children use the indicated figurative means to imagine the following situations: "I was washing the dishes and accidentally broke a cup", "I was sewing on a button and pricked my finger with a needle." Then we ask the children to "depict" a blossoming flower, a jumping frog, a child falling asleep, a tree swaying in the wind, etc.

After the children have already practiced enough acting techniques, we organize theatrical entertainment in kindergarten - we prepare dramatizations of famous fairy tales, while working we make sure that our pupils use all the means of acting expressiveness learned by them in the classroom (Appendix No. 7) , as well as modern fairy tales according to the plot (Appendix No. 8, No. 9, 29)

Rules for preparing for the performance:

· do not overload children;

· do not impose your opinion;

· give all children the opportunity to try themselves in different roles.

The preparation of the performance is usually built according to the following approximate scheme:

1. Choice of a play or dramatization, reading, discussion.

2. Division into episodes and retelling them by children.

3. Work on episodes in the form of sketches with improvised text.

4. We listen to music for different scenes of the play. We are engaged in staging dances, songs, creating sketches of scenery and costumes with children and parents, decorating the room, preparing gifts for guests.

5. Transition to the text of the play: work on episodes (expressiveness of speech, authenticity of behavior in stage conditions).

6. Rehearsal of individual paintings in different compositions with details of scenery and props (possibly conditional), with musical accompaniment.

7. Rehearsal of the entire play with costumes, props, scenery. Specifying the tempo of the performance.

8. Premiere of the play. Discussion with children, viewers.

9. Preparation of an exhibition of children's drawings based on the play.

The most important thing in the children's creative theater is the process of rehearsals, the process of creative experience and embodiment, and not the final result. Since it is in the process of working on the image that the development of the child's personality takes place, his ability to create new images. In the process of work, symbolic thinking, motor, emotional control develops. There is an assimilation of social norms of behavior. Thus, the work on sketches is no less important than the performance itself.

While doing theatrical activities with children, we solve two types of tasks:

Type 1 is educational tasks that are aimed at the development of emotionality, intelligence, as well as the development of the communicative characteristics of the child, by means of the theater.

Type 2 is educational tasks that are directly related to the development of artistry and stage performance skills necessary to participate in a children's theater.

In dealing with these two types of problems, parents are of great help to us. They are involved in the production of scenery, and I am engaged in artistic design. (Appendix No. 21 "b", "c"). I make dolls, attributes and decorations for fairy tales and scenes (Appendix No. 20, No. 21 "a", "e") , invent and make stage costumes (Appendix No. 29) – girl - "Yolochka", girls "Mermaid", Koschey the Immortal. Educators also participate in performances, most often we take on the roles of negative characters (Santa Claus, Baba Yaga, Kikimora, Scarecrow, Waterman, etc.) (Appendix No. 24) , but we play Autumn, Zimushka - winter, Grandmother, Fox Alice, Cat Basilio, Bunny, Clowns (Appendix No. 29) and so on. In a word, any performance staged together with children, any holiday with elements of theatrical and game creativity is, first of all, a game that we, adults, help the child organize, decorate, give it a special kind of fairy-tale action, and we play this game together .

Children of the senior and preparatory groups showed A. Suteev's fairy tales "Under the Mushroom" and "A Bag of Apples" for kids, where they themselves were heroes and performed actions in the transfer of one or another image (Appendix No. 30). Children act out scenes (Appendix No. 3, No. 6, No. 27) and the arrival of fabulous animals (Appendix No. 10).

How did we prepare for the fairy tale "Geese - Swans". We prepared the performance for 2 months. We started by choosing a story. I wanted all the children to be involved in the fairy tale. The teacher read it to the children, discussed each character, tried to understand the motives of their behavior, experiences and feelings, retold with the children separate fragments fairy tales. It can be seen from practice that it is much easier for children to work with a poetic text, and therefore I compiled a poetic text of a fairy tale that complemented the musical component of the fairy tale. In order for the children of the whole group to be involved in the fairy tale, and not just those who played the main characters, I included the round dance game “Burn clearly”, the Russian folk song “Treacle with ginger” and the round dance “And I am in the meadow”, dance " Let's go raspberries into the garden." So that in the tale sounded not only individual singing, but also choral.

In parallel with this, we were preparing the scenery for the performance, an additional musical material, designed costumes for each hero of the fairy tale (Yablonka, river, stove, Baba Yaga and others).

There are children who do everything right at once, while others must acquire certain knowledge and skills, observe their peers. Since the role of Baba - Yaga is negative - she invited the whole group to play Baba - Yaga. Everyone decided that Polina was perfect for the role of Baba - Yaga - "such a cheerful Baba - Yaga in Polina, like a real one." And so, little by little, little sketches turned into a big beautiful performance - a children's opera, which was loved in our kindergarten by both adults and children. The premiere was a success! It was a real holiday!

In the process of creative work on the performance, the children became more sociable, friendly, attentive, often came to each other's aid. The self-esteem of children with average abilities has increased, relations in the group have changed. So we solved the problem moral education the rising generation.

In the preparatory group- theatrical games, fairy tales, skits are distinguished by more complex characters of the characters.

· the comprehensive development of the artistic abilities of children is improved by means of theatrical art;

· creative independence develops: game, song, dance improvisation, as well as improvisation on children's instruments;

· deepening knowledge about objects, dolls, decorations;

· expands, activates the dictionary of children; the culture of speech communication is brought up;

· skills of improvisation of familiar fairy tales are fixed, encourage children to come up with new stories;

· looking for expressive means to create an image, using posture, facial expressions, gesture, speech intonation;

· a negative attitude to cruelty, cunning, cowardice is brought up, to form feelings of cooperation and mutual assistance;

· singing skills are improved;

· creative independence develops, prompting him to convey the mood, the nature of the music with the plasticity of his body, creating a vivid image of the hero.

I use elements of theatricalization in music classes, entertainment, holidays. It should be noted that not only educators and preschool children, but also parents take an active part in the work. (Appendix No. 23) , there is interaction with the school - participation in the holidays of school-age children (Appendix No. 9, No. 28) and this is very important. The joint creative activity of children and adults helps to overcome the traditional approach to the regime of a preschool educational institution, contributes to the self-realization of each child and the mutual enrichment of all, since adults and children act here as equal partners in interaction. The methodical office is equipped with various types of puppet theater , necessary for theatricalization: finger (Appendix No. 22) , shadow, bi-ba-bo, human puppets, picture theatre, table theatre, masks .

I periodically update the material, focusing on the interests of children. There is a dressing room where I show my creativity in making and tailoring costumes.

I believe that every child is talented from the very beginning, and the earlier work is started with children to develop abilities by means of musical and theatrical art, the more results can be achieved in song, dance and game creativity. While doing theatre, I stage in front of target- to make the life of our children interesting and meaningful, to fill it with vivid impressions, interesting things, the joy of creativity. So that the skills acquired in theatrical activities can be used by children in everyday life.

Attributes to dramatizations. Attributes (elements of costumes, masks, scenery) help children immerse themselves in the fairy-tale world, better feel their characters, convey their character. It creates a certain mood, prepares young artists to perceive and convey the changes that occur in the course of the plot. Attributes don't have to be complicated. When creating a mask, it is not the portrait resemblance to the character that is important (how accurately, for example, a piglet is drawn), but the conveyance of the mood of the hero and our attitude towards him.

Starting from this year, in the second junior group, I pay great attention to the corner of the disguise. Little children are wonderful actors: as soon as one of them puts on at least part of some costume, he immediately enters the image. My task is to captivate the child to play further, together, to lead him in the game, giving him the opportunity to do something in his own way, to give freedom of choice. Only then can the game take place and gradually turn into a whole performance.

This year I introduce children second junior group with a theatrical doll - bibabo, and theatrical games. Children watch dramatizations, dramatizations performed by the teacher (Appendix No. 5). Kids are happy to depict the habits of animals in small scenes, imitating their movements, voices. I develop attention.

In the reflection of the fabulous images of animals, they analyzed the nature of the movement, intonation: a chicken or small chickens are walking, funny and sad hares, leaves are spinning, falling to the ground, they also used psycho-gymnastics exercises: it was raining, the wind was blowing, the sun and a cloud.

I worked to ensure that the children conveyed the mood, the expressiveness of the performance of imitative movements, were able to coordinate movements with the music and the text of the song, developed fine motor skills, changed facial expressions (in the exercise “Patties - palms” by E. Karganova, music by M. Iordansky).

Working on acting skills, I give tasks: the bunny is afraid, the fox listens, a delicious candy, a prickly hedgehog, the cat is ashamed, the bear is offended. I use games for attention, fantasy, I achieve a vivid transfer of a diverse image.

I always pay great attention to the child's speech, the correct pronunciation of words, the construction of phrases, and the enrichment of speech. Together with the children, we made up little stories, came up with the dialogues of the characters. Children could independently compose and beat any story. Working on the expressiveness of the characters' replicas, their own statements, the children's vocabulary is activated, the sound culture of speech is being improved.

The main purpose of pedagogical guidance- awaken the imagination of the child, create conditions for ingenuity, creativity of children.

2.2 The role of music in creating the image of the performance

Music is one of the main elements of all theatrical productions, performances, one might say. actor. She is varied. During the show of puppet theaters, I always use musical accompaniment and sound design. It accompanies the action or fills a pause, emphasizes the hero's feelings or accompanies the dance. Before setting up the performance with music, it is necessary to select music for the performances, let the children listen to it, ask them to move while conveying the image if the child cannot show it to an adult.

As a rule, performances begin with a musical introduction, a small overture. Music combined with sound and light effects helps to create a complete artistic picture. It, of course, should be simple and accessible to children.

Children love to play and imitate playing musical instruments: balalaika, violin, piano. I support the initiative of improvisation on musical instruments: triangles, metallophone, xylophone, rattle, rattles, spoons, pipe, drums, tambourine, noise instruments, bells. Children themselves came up with various ways of voicing the appearance of one or another character - the arrival of the horse- spoons, bells, castanets or wooden spoons; telephone- Bicycle bell, alarm clock; sounds of the rain- slopes of a flat long plywood box with rolling peas. They independently selected musical instruments for the heroes of the fairy tale.

Musical accompaniment is recorded on CDs. I use audio cassettes.

2.3 The role of the educator and parents

I believe that the educator plays an important role in the conduct of the classes. He becomes my first and main assistant. The teacher is actively involved in the process of preparing and conducting musical and theatrical classes. He plays roles in performances, takes part in the design of the hall, the manufacture of costumes and attributes. I recommend educators to conduct preliminary preparation of children: thematic conversations, looking at pictures, reading literary work. This helped to more rationally use time in the classroom, which solved the problem of lack of time. In addition, the creative interaction of the music director and teacher enables children to receive a lot of impressions and emotions.

Our team attaches great importance to working with parents (Appendix No. 19) . The participation of parents in theatrical performances, holidays, entertainment helps to improve the quality creative development children. The work of the kindergarten and the family is based on the principles of interaction and cooperation.

The main achievement of teachers in the work on musical education is the ability to work together: music director, educators and parents in a single creative team.

As a music director, it is very important for me that in a world saturated with information and new technologies, the child does not lose the ability to know the world with his mind and heart, he knows how to listen and hear music, to create, expressing his attitude to good and evil, to know the joy associated with overcoming communication difficulties, self-doubt.

2.4 Development of singing abilities in musical and theatrical activities

- emotional response to music

- melodious feeling

- musical and auditory performance,

- sense of rhythm.

Musical abilities are necessary so that the child can compose and sing a melody, that is, express himself creatively in song improvisation. So in the process of songwriting, children develop musical and creative abilities. The children acquire the necessary knowledge, skills and abilities in order to be able to express their own musical impressions in songwriting. All this suggests the idea of ​​deepening into singing.

Performing songs, children perceive music more deeply, actively express their feelings, moods; comprehending the world of musical sounds, learn to hear the world, to express their impressions, their attitude towards him. Singing, as an active performing musical activity, greatly contributes to this. “It is the most important basis for the development of “musical-auditory representations”, which determine the development of all musical abilities.” (Berkman T. L.).

Dealing with the problem of developing singing abilities with children, you are convinced that children of older preschool age have a desire not only to sing in a choir, in an ensemble, but also to solo, a true passion for singing appears. Children have a great desire to act out small musical dialogues, skits, dramatizations, performances. Children are passionate about dance and play creativity, theater, the desire to play different roles. The skill of aesthetic evaluation is being formed.

In the song, the child can actively express his attitude to music. It plays an important role in the musical and personal development of the child. The song educates, educates, gives self-confidence, reveals the spiritual and creative potential of children. It gives a real opportunity to adapt to the social environment.

Expected results - fostering a love for music and a desire to develop their singing abilities.

From all of the above, the following conclusions can be drawn:

In the process of singing, children's knowledge of the world around them expands and deepens, children gain experience, learn to know themselves and others, evaluate deeds, actions;

Mental processes develop and improve: perception, memory, thinking, imagination, sensations, new needs, interests, emotions arise, abilities develop;

The aesthetic attitude to life, to music is successfully developing, the child's experiences are enriched;

Musical-sensory abilities are actively formed, and especially musical-auditory representations of sound-pitch relations, specific knowledge about music;

Improved: coordination, fluency, expressiveness of movements, imagination, fantasy in the musical creativity of children;

A sense of collectivism, responsibility for each other develops, the experience of moral behavior is formed;

The development of creative - search activity, independence is stimulated;

Singing classes bring joy to children, arouse active interest, captivate them.

So, singing lessons are of great importance for the comprehensive development of the child, therefore they are the basis for the development of the creative abilities of children. Therefore, the music director must:

1. Create conditions for the implementation of the artistic and creative experience of the child.

2. To introduce the child to the independent creative embodiment of the musical image in the forms accessible to him: song, dance and game improvisations, musical and didactic games, in theatrical activities.

Fairy tales and performances are always loved by children. They are happy to be included in what is happening as actors - performers, and as spectators. Reincarnating in one or another image, preschoolers laugh when their characters laugh, feel sad with them, they feel and think the same way as their fairy-tale heroes.

It is important that the teacher understand the meaning of his activity and be able to answer the questions for himself: why, for what purpose am I doing this, what can I give the child, what can children teach me? It is also important that in the process of creative interaction with the child, the teacher should be primarily concerned with the process of upbringing, and not teaching. It should be noted that when performing musical parts in fairy tales, operettas, operas, children have a desire to sing better and better. Here we solve the next problem - the development of singing skills.

Singing skills can be successfully developed only where work is systematically and systematically carried out to develop children's pitch and rhythmic perception.

The theatrical game should not only be aimed at acquiring a positive experience, but one should not be afraid of failures. They perfectly temper the character of the child, teach them to worry and bring up the ability to give in to another, and this is so important in life. An adult must identify and emphasize positive traits characters of the fairy tale and condemn the negative ones. A negative image will lose its appeal if it is presented in such a way that it will cause universal laughter and condemnation. And these roles are best entrusted to an adult in performances.

Since I am engaged in theatrical activities in kindergarten, I decided in my work to pay attention to the development of singing abilities. In view of the fact that children are very fond of fairy tales and love to sing, the idea arose to put on musical performances, fairy tales, etc.

It cannot be said that this type of activity was new for our kindergarten. Teachers in their work traditionally use theatrical games, dramatization of fairy tales, puppet shows.

2.5 Development of dance abilities in musical and theatrical activities

In dance art I bring up interest and desire to move in various images - animals, snowflakes, parsley, gnomes, etc. I use various attributes: flowers, leaves, ribbons, sultans, scarves, cubes, balls, Christmas trees, fur toys, etc.

In the process of musical and rhythmic education, I use the program "Rhythmic Mosaic" by AI Burenina, since it is aimed at developing the artistic and creative foundations of the personality, which contributes to the psychological emancipation of each child. The program includes a rich selection of dance and rhythmic compositions. Here are children's songs and melodies, famous music from films. My children have the opportunity to sing not only their favorite songs, such as: "Antoshka", "Cheburashka" by V. Shainsky, " colorful game» B. Saveliev, «Magic Flower» Y. Chichkov, but also dance to them. This gives them great joy, and if children enjoy doing it, then good results can always be expected.

2.6 Rules of puppetry

It is better to start learning puppetry techniques from the theater of spoons. The doll made of wooden spoons is easy to handle. The child takes the spoon by the handle and lifts it up. The child's hand is hidden under a skirt worn on a spoon.
When working with a screen, the child should feel that the doll is “walking” without sinking or rising too high. It is necessary to teach how to convey the gait, the image of this character (easy, waddling, fussy, etc.). The doll should leave gradually - just like it should enter. When the dolls “talk”, the doll that is currently “talking” moves slightly. The other at this moment carefully “listens”, stops any movement for a while. This technique allows the audience to determine which of the puppets is speaking. During the conversation, the dolls should "look" at each other, standing one against the other. It is important that the child's speech coincides with the movement of the doll, the etudes will help to "revive" the doll, to master the basics of puppetry.
General rules for puppetry
The doll should be kept at a certain level in relation to the screen. The doll, placed close to the edge of the screen, should rise to three-quarters of its height.
When the doll performs movements, her hands should be pressed to the body.
Keep the doll straight. The tilt of the doll is carried out by tilting the hand. The waist of the doll falls just on the wrist. Taking the doll into the background, you need to raise it higher. To plant the doll, you must first tilt it, bending at the wrist, then rest your wrist on the place where the doll sits. When the previously sitting doll stands up, it first leans forward, straightens up and simultaneously rises to a straightened position.
If the doll has no legs, placing it on the edge of the screen, place the free hand from below in place of the imaginary knees, covering it with the doll's clothes.
The movements of the doll and the words should be directed to a specific object of attention.
The talking doll should emphasize the most important words head or hand movements.
When one doll speaks, the rest must be motionless: otherwise it is not clear to whom the words belong.
The character of the actor is transferred to the doll.

2.7 Diagnostic examination of the level of development of children in musical and theatrical activities

Senior group for September 2013 and May 2014 academic year G.

No. p / p

Name, surname of the child

Level of development (B, C, N)

high emotional naya responsive

The ability to be free and liberated but keep on speaking niyakh

Skill and proviso

Fast and strong memorization text

Intensive new language development

Extensive vocabulary

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Anastasia A.

Tatyana K.

Yaroslav K.

Anastasia L.

Dmitry P.

Polina S.

Nikita Ch.

High - 3 (the child independently, without errors, copes with the task) high level at the beginning of the year - 21.5%, at the end of the year 58.3%

Average - 2 (the child completes tasks with the help of an adult) average level at the beginning of the year - 56.2%, at the end of the year 31.3%

Low - 1 (a child even with the help of an adult makes mistakes in completing a task) low level at the beginning of the year - 22.3%, at the end of the year 10.4%

Diagram of the level of development of children of the senior group in musical and theatrical activities for September 2013 and May 2014 academic year. G.

High level at the beginning of the year - 21.5%, at the end of the year - 58.3%;

the average level at the beginning of the year - 56.2%, at the end of the year - 31.3%;

low level at the beginning of the year - 22.3%, at the end of the year - 10.4%

From the diagram of the level of development of children of the senior group in musical and theatrical activities for September 2013, it can be seen that before the start of the experiment, children with a high level at the beginning of the year - 21.5%, with an average level - 56.2%, with a low level - 22.3 %.

After the experiment was completed, the result increased significantly. As of May 2014 There were significantly more children with a high level - 58.3%, with an average level - 31.3%, and only 10.4% with a low level.

DIAGNOSTICS

the level of development of children of the preparatory group for musical and theatrical activities as of September 2014

No. p / p

Name, surname of the child

Level of development (B, C, N)

General level of development of the child

high emotional naya responsive responsiveness to music, good orientation in space

The ability to distinguish the mood, feelings, emotional state of the characters.

The ability to be free and liberated but keep on speaking niyakh

Skill and proviso use the means of facial expressions, pantomime, expressive movements and intonation

Fast and strong memorization text

Intensive new language development

Extensive vocabulary

Ability to play your part.

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Daniel B.

Cyril M.

Tatyana M.

Polina S.

Anastasia S.

Darina H.

Valeria Ch.

Alexander Ch.

Arseniy Sh.

Andrew D.

high level - 3 (the child independently, without errors, copes with the task) high level at the beginning of the year - 50%,

average level - 2 (the child completes tasks with the help of an adult) average level at the beginning of the year - 36.25%,

low level - 1 (a child even with the help of an adult makes mistakes in completing a task) low level at the beginning of the year - 13.75%.

Diagram of the level of development of children of the preparatory group for musical and theatrical activities for September 2014 academic year

High level at the beginning of the year - 50%;

The average level at the beginning of the year is 36.25%;

The low level at the beginning of the year is 13.75%.

Let's analyze the diagram of the level of development of children of the preparatory group for musical and theatrical activities for September 2014 academic year. With a high level at the beginning of the year - 50%, with an average level - 36.25%, with a low level - 13.75%. The alleged reason for significant changes is related to the fact that children did not attend preschool during the summer.

Taking into account the analysis of my own experience, I came to the conclusion that the system of work carried out turned out to be the most optimal, adequate and effective in my work with children. Children showed their achievements at holidays and entertainment. Their performances were distinguished by bright, confident artistic performance. I, as a musical director, being engaged in the development of children's creative abilities by means of musical and theatrical activities, enjoy, enjoy the very process of joint creative activity.

The effectiveness of the experience

The value and benefits of practicing musical and theatrical activities are obvious, since it is closely related to other activities - singing, moving to music, listening, drawing, etc. Being engaged in the development of the creative abilities of children by means of musical and theatrical activities in the process of observation, I drew attention to the following:

In children, already after the first year of study, the formation of musical creative abilities turned out to be more high level in all directions.

The ability to improvise (song, instrumental, dance) has significantly improved.

Children began to actively use the means of expression (facial expressions, gestures, movements).

Emotional responsiveness has increased, orientation in emotional content has developed, which is based on the ability to distinguish feelings, moods and compare them with the corresponding acting manifestations.

Children began to show more activity, initiative, participating in the game.

Children develop moral, communicative and volitional qualities of a person (sociability, politeness, sensitivity, kindness, ability to bring a task or role to the end).

Children began to sing songs, dances, poems more emotionally and more expressively.

The children gained the ability to express their understanding of the plot of the game and the nature of the character (in movement, speech).

The children had a desire to invent, tell a fairy tale, compose a dance, etc.

Children began to show a strong interest in theatrical activities.

Thus, musical and theatrical activity comprehensively develops the child.

Conclusion

Theater art is the interaction of music, dance, painting, acting, introduces them to the world around them, improves movements, finger motor skills, acquires skills in song and dance, contributes to the achievement of the goal of modern education. Theatrical games always delight children,

They enjoy success.

Children with great pleasure take part in various types of theatrical activities, these are director's games and dramatization games. They allow you to create a favorable emotional base for the development of positive emotions, ethical feelings.
Individual performance of various creative tasks in a playful way leads to the simplest conclusions, helps children to independently analyze the work performed, compare and contrast plots and productions.

My work experience has shown that musical and theatrical activities can be used both in the classroom and in independent artistic activities, in preliminary and individual work with children, etc. Children are looking forward to each lesson, they are engaged with desire and joy, which, contributes to the disclosure of their creative manifestations.

In the future, I plan to replenish the methodical office and use other types of puppet theater in my work.

After all, the theater is a game, a miracle, magic, a fairy tale!

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