Contents: Musical 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 are artists Cooperate Our awards Conclusion Archival materials

Musical director Graduated from the Glinka Magnitogorsk Music College in 1975, specializing in choir conductor and solfeggio teacher. 35 years of teaching experience. 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 the torch!”

Theater and Music Studio "Golden Key" Objectives: To form a sustainable interest in theatrical production activities To liberate the creative potential of preschool children To teach children to master the simplest musical instruments To develop memory, attention, thinking and perception

Conclusion Theatrical musical activity in a child’s life, this is not only aesthetic education and familiarization with cultural values, but also effective method development of children's abilities, their path to spiritualized happy life and self-realization as an individual.

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

From the experience of teaching work music director

MBOU - Pervomaiskaya secondary school

(preschool department)

Filimonenko Natalia Evgenievna

“Musical and theatrical activities as a factor in the development of children’s creative abilities preschool age»

Klintsy

2014.

Plan:

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

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

1.1 Experience of domestic teachers in music - theatrical activities V 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 teacher and parents…………………………………….45

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

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

2.6 Rules of puppeteering…………………………………………….51

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

Effectiveness of the experience………………………………………………………57

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

References……………………………………………………………60

Appendix……………………………………………………………...62

« None of the arts has

such an effective educational

force, like a musical theatrical

activity that is a means

spiritual self-awareness of man..."

G. V. Kuznetsova.

“The theater is a magical world.

He gives lessons in beauty and morality

and morality.

And the richer they are, the more successful they are.

the spiritual world is developing

children..."

B.M. Teplov

Introduction

Before school age– 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 of the child are laid, and a person’s personality is formed. In the period from three to seven years, a child grows and develops rapidly. Therefore, it is so important from early childhood to introduce the interest of a little person to his native culture, theater, literature, painting, and music. The earlier this is started, the greater results can be achieved.

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

Musical and theatrical activities turn into

a real holiday. Music helps to convey the character of the characters in motion; the characters sing and dance. There is an enrichment with musical impressions, awakening creative activity, determination, perseverance, forming emotional responsiveness to music, a sense of harmony, musical-auditory perception, and a sense of rhythm. Children like to act out songs themselves, act out the actions of fairy tales, and familiar literary plots. Music evokes joyful emotions, develops children's memory, speech, aesthetic taste, promotes the manifestation of creative initiative, the formation of a child's personality, the formation of his moral ideas, relieves tension and stiffness, develops a sense of rhythm and coordination of movements, plastic expressiveness and musicality, the ability to use intonation, expressing basic feelings, a respectful attitude towards each other is formed.

It is obvious that musical and theatrical activities teach children to be creative individuals, capable of perceiving novelty and the ability to improvise.

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

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

Tasks:

1. To awaken in the soul of every child a sense of beauty and instill a love of art, to intensify the cognitive interest of children;

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

3. To develop the need in children to be spiritually enriched through theatrical activities and music;

4. To develop children’s theatrical and creative abilities and theatrical culture skills.

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

6. Relieve tightness and stiffness;

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

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

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

7. To interest parents in making costumes and attributes for the performance, creating joint creative works with children.

8. Increasing confidence in teachers.

9. 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 communicative qualities of preschool children through theatrical, play and musical activities. 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 being paid by teachers to revealing the potential capabilities of the child, his hidden talent through the means of theatrical art.

Currently, many programs have appeared for the education and training of preschool children in the process of theatrical activities, which is extremely relevant from the point of view of a creative approach to personal development. Let's look at some of them.

A program for organizing theatrical activities for preschoolers and primary 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 stimulate children's ability to imaginatively and freely perceive the world around them (people, cultural values, nature), which, developing in parallel with traditional rational perception, expands and enriches it.

Purpose of the program: the development of aesthetic abilities through the means of theatrical art consists in harmonizing the child’s relationship with the outside world, which in the future would serve as protection for him from social and interpersonal confrontations.

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 communication skills and collective creativity.

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

1. Theater game. It is 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 task, the ability to communicate with peers and adults in any life situations. Games in this section are conventionally divided into educational, special, and theatrical.

2. Rhythmoplasty. Includes complex rhythmic, musical, plastic games and exercises that ensure the development of the child’s natural psychomotor abilities, gaining a sense of harmony of his body with the outside world, and the development of 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 games with words that develop figurative speech, creative imagination, the ability to compose short stories and fairy tales, and select simple rhymes. Exercises are divided into three types: breathing and articulation; diction and intonation; creative games with words.

4. Fundamentals of theatrical culture. Children's mastery of basic 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 performance; theater outside and inside; spectator culture.

5. Work on the play– an auxiliary section based on the author’s scripts, includes topics: introduction to the play; from sketches to performance.

Program “Theater - creativity - children: playing puppet theater” by N. F. Sorokina, L. G. Milanovich.

The program is focused on the comprehensive development of the child’s personality and individuality. It systematizes the means and methods of theatrical and play activities, and 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); children's gradual mastery of various types of creativity by age group; improving artistic skills in terms of experiencing and embodying an image, modeling social behavior skills in given conditions.

The program consists of four sections, corresponding age periods preschool childhood (3 - 4 years, 4 - 5 years, 5 - 6 years, 6 - 7 years). It highlights two types of tasks:- educational, aimed at developing the child’s emotionality, intelligence, and communication abilities through children’s theater;

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

Program “Theater 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, and non-traditional ways of interaction 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.

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

Designing a zone for children's theatrical activities presupposes compliance with the basic principles of constructing a subject-spatial environment: ensuring a balance between joint and individual activities of children; organization of “privacy zones”; providing the right and freedom of choice; creating conditions for modeling, searching and experimentation; functionality of the use of premises and equipment.

Theatrical activities 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 to develop expressiveness of performance (verbal and non-verbal); exercises for the social and emotional development of children.

Program “Theatrical activities in kindergarten” by E. A. Antipina.

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

Objectives and methods: consistent acquaintance with types of theater; children's gradual mastery of creative arts by age group; improving children's artistic skills; child emancipation; work on speech and intonation; collective actions, interactions; awakening in children the ability to vividly imagine what is happening, sympathize, and empathize.

Principles: improvisation, humanity, systematization of knowledge, taking into account individual abilities.

The content of theatrical activities classes includes: watching puppet shows and talking about them; dramatization games; exercises for children's social-emotional development; correctional and developmental games; diction exercises (articulation gymnastics); tasks for the development of speech intonation expressiveness); transformation games, imaginative exercises; exercises for the development of plasticity; rhythmic minutes (logorhythmics); finger play 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 exercises on ethics during dramatizations; preparation and performance of fairy tales and dramatizations; acquaintance with the text of the fairy tale, the means of its dramatization - gesture, facial expressions, movement, costume, scenery, mise-en-scène.

Program "Childhood".

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

Creation of dramatic content (interpretation, rethinking of a plot given by a literary text or composing a variable or one’s own plot);

Execution of one’s own plan (the ability to embody an artistic image using means of expressiveness: intonation, facial expressions, pantomime, movement, chanting);

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

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

Theatrical and play activities of children are considered in two interrelated aspects: as a type of artistic activity that integrates with literary, musical and visual; as a creative story game based on the child’s independent gaming experience.

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. What does he think? O. P. Radynova “Children’s musical creativity is, by its nature, a synthetic activity.” Children usually improvise spontaneously in various games. They sing a lullaby to dolls, hum a march for soldiers, willingly compose songs, and come up with melodies based on given texts.

Children love to dramatize songs and come up with movements for round dances. The literary text and the nature of the music help them in this. 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 corresponding specific activities. But there are natural inclinations that are innate, which influence the manifestation of certain abilities of the child.

Creative abilities can manifest themselves differently in each child, depending on natural inclinations and the development of basic musical abilities. Therefore, the issue of developing children’s creative abilities must be approached individually, taking into account the characteristics of each child.

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

L. S. Khodonovich notes that in order to develop song creativity in a child, it is necessary to develop basic musical abilities: a sense of harmony, musical and auditory perceptions, a sense of rhythm.

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

Children's creative expressions in rhythm and dancing 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 has 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 learning to dance with individual movements. She suggests teaching children the simplest techniques of dance composition, which are variants of specific ways of embodying this or that content. A story dance can help solve this problem.

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

L. S. Khodanovich To develop children's instrumental creativity, it suggests not only teaching children certain skills, but also using a variety of creative tasks.

She recommends giving such tasks in an emotional, figurative form, as well as awakening children’s imagination and imagination with poetic comparisons, using fairy-tale plots, which helps to emancipate the children, gets them interested and helps color children’s improvisations with different feelings.

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

Respect for 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, a variety of costumes and attributes, space for dancing, and children's musical instruments.

According to modern scientists who study the problems of preschool education, the disclosure of the internal 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 child’s creative potential, developing his communication abilities, mental processes, ensuring the expression of the individual’s individuality, understanding the inner world through theatrical activities.

1.2 Classification of theatrical games

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

For example, teachers L. V. Kutsakova, S. I. Merzlyakova ("Rosinka" program) are considering:
- tabletop puppet theater (theater on a flat picture, on circles, magnetic tabletop, cone theater, toy theater (ready-made, homemade));
- stand theater (flannelgraph, shadow, magnetic stand, stand - book);
- theater on the hand (finger, pictures on the hand, mitten, glove, shadow);
- riding dolls (on gapit, on spoons, bibabo, cane);
floor dolls (puppets, cone theater);
- living puppet theater (theater with a “living hand”, life-size puppets, human puppets, mask theater, Tanta-Moreski).
For example, G. V. Genov This is how he classifies the types of theaters for preschoolers:
- cardboard;
- magnetic;
- desktop;
- five fingers;
- masks;
- manual shadows;
- “live” shadows;
- finger shadow;
- theater book;
- puppet theater for one performer.

L. V. Artyomova offers a classification director's games in accordance with the variety of theaters (tabletop, flat, bibabo, finger, puppets, shadow, flannel, etc.).

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

Tabletop picture theater. Characters and settings – pictures. Their actions are limited. The state of the character, his mood is conveyed by the intonation of the player. Characters appear as the action progresses, which creates an element of surprise and arouses the interest of children.

Stand-book. The dynamics and sequence of events are depicted using alternating illustrations. Turning over the sheets of the stand-book, the presenter demonstrates various plots depicting events and meetings.

Flannelograph. Pictures or characters are displayed on the screen. They are held in place by flannel, which covers the screen and the back of the picture. Instead of flannel, you can glue pieces of velvet or sandpaper to the pictures. Drawings are selected together with children from old books, magazines or created independently.

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

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

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

Theatrical play can be divided into two groups: director's and dramatizations.

Director's games

Games - dramatization

Tabletop theater of pictures and toys;

Shadow theater;

Theater on flannelgraph;

Stand - book.

Dramatization games with fingers;

With bi-ba-bo dolls;

Improvisation;

With attributes (masks, caps, costume elements).

In the director's game the child is not an actor, he acts as a toy character, he himself acts as a screenwriter and director, controls the toys or their deputies. This independence in inventing a plot is considered especially important for the further development of play 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 stationary figure or toy.

An important feature of these games is the transfer of functions from one object of reality to another. Their similarity with director's work is that the child comes up with mise-en-scène, 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 imagination as a new formation of preschool age.

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

Types of games - dramatizations:

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

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

Improvisation- This is the acting out of a plot without preliminary preparation.

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

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

During theatrical games:

· children’s knowledge about the world around them expands and deepens;

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

· mental operations are stimulated;

· development of various analyzers occurs: visual, auditory, speech and motor;

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

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

· the emotional-volitional sphere develops;

· behavior correction occurs;

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

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

· participation in theatrical games brings joy to children, arouses active interest, and captivates them.

1.3 Production of theatrical puppets and scenery

To organize theatrical activities, you can use toys and dolls produced by industry (table theaters, bibabo). But toys made by children themselves have the greatest educational value, which develops visual skills, manual skills, and creativity.
Toys for a tabletop theater can be made of paper, cardboard, foam rubber, boxes, wire, natural materials, etc.
The easiest to make is a flannelgraph. Draw on thin cardboard figures, cut them out, stick pieces of flannel on the back 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 the cardboard, the second part is outlined and cut out. Glue both parts by inserting a thin stick or paper tube between them (screw the paper coated with glue onto the used pen rod, remove the rod). The 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 piece of cardboard at the bottom on both halves of the image, so that by bending these parts and spreading them with glue, glue them to the cardboard circle-stand.
The stands can be wooden or cardboard, but you can do without them - the figurine is bent at a right angle in some place. Such a theater can be drawn with paints, felt-tip pens, and decorated with paper and fabric appliqué.
Toys made from cones and cylinders.
Using compasses 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, and glue the parts. To make toys from cylinders, glue them together from rectangular sheets of thick paper. It is better to decorate it with an applique made of paper, fabric, lace, braid, thread, buttons, beads, beads, sewn or glued to the craft. Starch glue is convenient for gluing paper and thin fabrics, and it is better to glue cardboard, buttons, beads, and braid with PVA glue.
Dolls can be made from paper, cardboard, fabric, and character heads can be molded to put on cones. Newsprint is torn into small pieces and filled with water. After the paper gets wet, let the water drain, add a handful of flour and knead the dough (3/4 of the paper mass and one part of the flour). Put the ball rolled out of the mass onto cardboard cone and sculpt the head directly on it.
The heads dry on the cone. Then the parts are removed, painted, and glued on (hair, headscarf, etc.). Appropriate fabrics are selected for gluing the cones. Slots are made on the cones into which paws, tails, and arms are inserted. Having several of these cones, you can quickly design any toy.
Foam toys.
Children are given pre-colored pieces of foam rubber. The coloring is done by the teacher. Aniline dye, diluted in water, must be dipped entirely into a piece of foam rubber.
To make it dye better, dip the foam rubber into the dye several times and squeeze it out. Cuts are made, strappings are made, parts are sewn together, unnecessary parts are cut off, and the foam rubber is given the required shape.
Magnetic theater.
Toys made by children from paper cones, cylinders, foam rubber, can also be adapted for a magnetic theater. Pieces of metal are attached to the lower parts of the cones and cylinders using strips of paper. You can place metal pieces into the holes of the coils. Then the stand is made. A piece of fabric is glued to thin plywood to move the magnet under a stand placed on the edges of two tables placed side by side.
Toys from boxes.
Select boxes different shapes and size (from food products, perfumes, bulk medicines, etc.), glue them together, cover them with pieces of paper, fabric and decorate them with cut out elements.
Any box can be adapted for a doll’s head (cardboard sour cream packaging, 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 figurine, or only the head is made. In this case, a fabric skirt is first put on the hand. At the same time, the hand is hidden in a box, and the arm is hidden from the wrist to the elbow by a skirt with an elastic band.
Such a doll can be made into a talking toy by cutting a hole in the place of the mouth. If you move your index finger inside the box near the hole, it creates the illusion that the doll is talking.
Toys from natural materials.
Cones, acorns, chestnuts, bark, seeds, seeds, etc. are used, which are not held together with plasticine; you need PVA, casein or carpentry glue.
Natural materials are better to cover clear varnish. You should 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 theater of toys made from natural materials on the sand. To do this, planks 10 cm high are nailed to the table top on all sides, sand is poured in, and the decoration is made using roots, bark, pebbles, and plant branches. You can dig a container of water into the sand, then the person
Filimonenko Natalia Evgenievna

Chapter 1. Review of literature on the problem of the influence of theatrical activities on the musical development of children

Conclusion

Bibliography

1.1 Formation of a child’s creative personality through theatrical activities

The problem of the development of artistic creativity in the system of aesthetic education of the younger generation is currently increasingly attracting the attention of philosophers, psychologists, and teachers.

Society is constantly in need of creative individuals who are able to act actively, think outside the box, and find original solutions to any life problems.

According to outstanding psychologists L.S. Vygotsky, L.A. Wenger, B.M. Teplov, D.B. Elkonin and others, the basis of artistic and creative abilities is general abilities. If a child knows how to analyze, compare, observe, reason, generalize, then, as a rule, he is found to have high level intelligence. Such a child may be gifted in other areas: artistic, musical, social relations (leadership), psychomotor (sports), creative, where he will be distinguished by a high ability to create new ideas.

Based on the analysis of the works of domestic and foreign psychologists, who reveal the properties and qualities of a creative personality, general criteria of creative abilities were identified: readiness for improvisation, justified expressiveness, novelty, originality, ease of association, independence of opinions and assessments, special sensitivity.

In domestic pedagogy, the system of aesthetic education is considered as the development of the ability to perceive, feel and understand the beautiful in life and art, as introduction to artistic activity and the development of creative abilities (E.A. Flerina, N.P. Sakulina, N.A. Vetlugina, N.S. Karpinskaya, T.S. Komarova, T.G. Kazakova and others).

In the process of aesthetic perception of works of art, the child develops artistic associations; he begins to make assessments, comparisons, generalizations, which leads to an awareness of the connection between the content and means of artistic expression of works. The activity of preschool children becomes artistic when it is based on various types of art, presented in unique and accessible forms for the child. These are visual, theatrical, musical and literary (artistic and speech) activities.

ON THE. Vetlugina identified the following features in the artistic activities of preschoolers: the realization of the child’s attitude towards various types of art, the expression of his interests and emotional experiences, the active artistic development of the surrounding life. She considered artistic and creative abilities (the processes of perception, creativity, performance and evaluation) in a complex.

All types of artistic activity that are formed in preschool childhood, according to N.A. Vetlugina, are distinguished by ease, emotionality and necessarily awareness. During this activity, the child’s creative imagination clearly manifests itself, he consciously conveys the play image and brings his own interpretation to it.

Art as a unique reflection of life makes it possible to reveal life phenomena in artistic form. Pedagogical research aimed at studying children's creativity in various types of artistic activity (literary, visual, musical, theatrical) invariably emphasizes the need to form an aesthetic attitude towards works of art (N.A. Vetlugina, N.P. Sakulina, T.G. Kazakova, A.E. Shibitskaya, T.I. Alieva, N.V.

The problem of the interaction of arts was considered in different aspects: how the influence of the relationship between music and painting on the creativity of children (S.P. Kozyreva, G.P. Novikova, R.M. Chumicheva); development of musical perception of preschool children in conditions of interaction of different arts (K.V. Tarasova, T.G. Ruban).

Most domestic psychologists emphasize the figurative nature of creative processes.

Children's creative abilities are manifested and developed on the basis of theatrical activities. This activity develops the child’s personality, instills a sustainable interest in literature, music, theater, improves the skill of embodying certain experiences in play, encourages the creation of new images, and encourages thinking.

The influence of theatrical art on the formation of a person’s spiritual culture is illuminated in the works of E.B. Vakhtangov, I.D. Glikman, B.E. Zakhavy, T.A. Kurysheva, A.V. Lunacharsky, V.I. Nemirovich-Danchenko, K.S. Stanislavsky, A.Ya. Tairova, G.A. Tovstonogov; The works of the founders of puppet theater in our country - A.A. - are devoted to the problems of moral development of children through the means of theater. Bryantseva, E.S. Demmeni, SV. Obraztsov, and musical theater for children - N.I. Sats.

This is explained by two main points: firstly, drama based on an action performed by the child himself most closely, effectively and directly connects artistic creativity with personal experience.

As Petrova V.G. notes, theatrical activity is a form of experiencing life experiences that lies deep in the nature of children and finds its expression spontaneously, regardless of the wishes of adults.

In dramatic form, a complete circle of imagination is realized, in which an image created from elements of reality embodies and realizes again into reality, even if it is conditional. Thus, the desire for action, for embodiment, for realization, which is inherent in the very process of imagination, finds full fulfillment precisely in theatricalization.

Another reason for the closeness of the dramatic form for a child is the connection of any dramatization with play. Dramatization is closer than any other type of creativity, directly related to play, this root of all children's creativity, and therefore it is the most syncretic, that is, it contains elements of the most diverse types of creativity.

Pedagogical research (D.V. Mendzheritskaya, R.I. Zhukovskaya, N.S. Karpinskaya, N.A. Vetlugina) shows that dramatization game is one of the forms of plot-role-playing game and represents a synthesis of the perception of a literary text and role-playing games. At the same time, the role of dramatization play in the transition to theatrical activity is emphasized (L.V. Artemova, L.V. Voroshnina, L.S. Furmina).

Analysis of children's creativity in the works of N.A. Vetlugina, L.A. Penevskaya, A.E. Shibitskaya, L.S. Furmina, O.S. Ushakova, as well as statements by famous representatives of theatrical art, convincingly prove the need for special training in theatrical activities. There can be two approaches to solving this problem: one of them involves a reproductive (reproducing) type of learning, the other is based on organizing conditions for the creative processing of material and the creation of new artistic images.

Various aspects of children's theatrical activity are the subject of a number of scientific studies. Issues of organization and methodology for teaching children's theatrical activities are reflected in the works of V.I. Ashikova, V.M. Bukatova, T.N. Doronova, A.P. Ershova, O.A. Lapina, V.I. Loginova, L.V. Makarenko, L.A. Nikolsky, T.G. Peni, Yu.I. Rubina, N.F. Sorokina and others.

The possibilities of teaching theatrical activities in the development of various aspects of a child’s personality are revealed in the studies of L.A. Tarasova (social relations), I.G. Andreeva (creative activity), D.A. Strelkova, M.A. Babakanova, E.A. Medvedeva, V.I. Kozlovsky (creative interests), T.N. Polyakova (humanitarian culture), G.F. Pokhmelkina (humanistic orientation), E.M. Kotikova (moral and aesthetic education).

In the field of music education, the problem of child development through theatrical activity is reflected in the works of L.L. Pilipenko (formation of emotional responsiveness in younger schoolchildren), I.B. Nesterova (formation of sociocultural orientations), O.N. Sokolova-Naboychenko (musical and theatrical activities in additional education), A.G. Genina (formation of musical culture), E.V. Alexandrova (development of perception of a musical image in the process of staging a children's opera).

An analysis of the literature suggested that musical development is facilitated by a special organization of conditions for the purposeful teaching of children in various types of artistic activities in their interrelation.

The development of the theory and practice of educating preschool children through music was influenced by the views of B.V. Asafieva, T.S. Babajanyan, V.M. Bekhtereva, P.P. Blonsky, L.S. Vygotsky, P.F. Kaptereva, B.M. Teplova, V.N. Shatskoy, B.L. Yavorsky and others, who emphasized the need for this work, starting with early age for moral and intellectual development children's personalities.

The system of domestic musical education of preschool children, which developed in the 60s - 70s. XX century, was based on pedagogical and psychological studies of the problems of development of musical perception of preschool children (S.M. Belyaeva-Ekzemplyarskaya, I.A. Vetlugina, I.L. Dzerzhinskaya, M. Nilson, M. Vikat, A.I. Katinene, O.P. . Radynova, S.M. Sholomovich) and the capabilities of children in evaluating music (II.A. Vetlupsha, L.N. Komissarova, I.A. Chicherina, A.I. Shelepenko).

II.A. Vetlugina, who developed many of the most important problems of children's musical activity, proposed combining the methods of traditional and innovative pedagogy in the practice of musical teaching and upbringing. This approach is followed by A.D. Artobolevskaya, A.II. Zimina, A.I. Katinene, L.N. Komisarova, L.E. Kostryukova, M.L. Palandishvili, O.P. Radynova, T.I. Smirnova and others.

In most created technologies, the education of a harmoniously developed personality is carried out in the process of combining different types of artistic activity, each of which (singing, movement, recitation, playing noise and percussion instruments, arts and crafts and visual arts) is organic for the child, but in practice the priority is often devoted to one particular type of musical activity.

The paradox of many methodological research and development lies in the emphasis on the process of creative activity and the underestimation of the pedagogical significance of its product (the system of mastered knowledge, skills and abilities often replaces the product of children's musical creativity).

It should also be noted that most existing concepts and proprietary methods, as a rule, are focused on short time periods (3-4 years, 5-7 years, primary school age), that is, they are limited to educational institutions different types. Such “age-related” fragmentation leads to the need for special efforts aimed at ensuring the continuity of the child’s musical development.

In overcoming these negative trends, musical and stage works written for children acquire particular significance. A prominent role in the process of forming integrated principles of creative musical development of children was played by composers - foreign (B. Britten, K. Orff, Z. Kodaly, P. Hindemith) and domestic (C. Cui, A. Grechaninov, M. Krasev, M. Koval , D. Kabalevsky, M. Minkov, etc.).

IN last decades Many new musical and stage works are appearing, which, being material that is accessible and exciting for modern children to perceive, can raise their creative development. It is in these works that the child is able to express and realize himself in various types of creative activity. Singing, plastic arts, acting, developing an artistic solution for the performance - all these are components without which it is impossible to do when working on stage works.

1.2 Creative games for preschoolers

In domestic preschool pedagogy, a classification of children's games has developed, based on the degree of independence and creativity of children in the game. Initially, P.F. approached the classification of games according to this principle. Lesgaft, later his idea was developed in the works of N.K. Krupskaya.

She divides all children's games into 2 groups. The first N.K. Krupskaya called them creative; emphasizing their main feature - independent character. This name has been preserved in traditional domestic preschool pedagogy for the classification of children's games. Another group of games in this classification are games with rules.

Modern domestic pedagogy creative games include role-playing, construction and theatrical games. The group of games with rules includes didactic and outdoor games.

Theatrical play is very closely related to role-playing game and is a variation of it. Role-playing play appears in a child at approximately 3 years of age and reaches its peak at 5-6 years of age; theatrical play reaches its peak at 6-7 years of age.

As a child grows up, he goes through a number of stages, and his play also develops step by step: from experimenting with objects, familiarizing himself with them to displaying actions with toys and objects, then the first plots appear, then role-playing is added and, finally, dramatization of plots.

D.B. Elkonin calls role-playing play a creative activity in which children take on and in a generalized form reproduce the activities and relationships of adults, using substitute objects. Theatrical play appears at a certain period and, as it were, grows out of the plot-role-playing game. This happens at a time when, at an older age, children are not satisfied only with reproducing plots of real relationships between adults. Children become interested in basing the game on literary works, revealing their feelings in it, making dreams come true, performing desired actions, acting out fantastic plots, and inventing stories.

The difference between plot-role-playing and theatrical games is that in plot-role-playing games children reflect life phenomena, and in theatrical ones they take plots from literary works. In a role-playing game there is no final product, the result of the game, but in a theatrical game there can be such a product - a staged performance, a staging.

Due to the fact that both types of games, role-playing and theatrical, belong to creative types, the concept of creativity should be defined. According to encyclopedic literature, creativity is something new, something that has never happened before. Thus, creativity is characterized by 2 main criteria: novelty and originality of the product. Can children's creative products meet these criteria? Certainly not. N.A. Vetlugina, a prominent researcher of children's artistic creativity, believes that in his creativity a child discovers new things about himself, and tells others new things about himself.

Consequently, the product of children's creativity has not objective, but subjective novelty. Wonderful scientist teacher T.S. Komarova under artistic creativity the child understands “the creation by the child of a subjectively new (significant for the child, first of all) product (drawing, modeling, story, dance, song, game, invented by the child), inventing new, previously unused details for the unknown, characterizing in a new way created image(in a drawing, in a story, etc.), inventing your own beginning, end of new actions, characteristics of heroes, etc., using previously learned methods of depiction or means of expression in a new situation (for depicting objects of a familiar shape - based on possession facial expressions, gestures, variations of voices, etc.), the child showing initiative in everything, coming up with different options for images, situations, movements, as well as the very process of creating images of a fairy tale, story, dramatization game, drawing, etc., searches in the process of activity, methods, ways of solving a problem (visual, gaming, musical).

Indeed, in the game the child comes up with a lot himself. He comes up with the idea and content of the game, selects visual and expressive means, and organizes the game. In the game, the child manifests himself as an artist acting out the plot, and as a screenwriter, building its outline, and as a decorator, arranging a place for the game, and as a designer, embodying a technical project.

The creative combining activity of a preschooler is based on imagination. It is with the help of imagination that a child’s games are created. They serve as an echo of the events that he saw and heard about from adults.

L.S. Vygotsky believes that a child’s imagination is much poorer than an adult’s imagination; therefore, in order to develop children’s creativity, one must take care of the development of imagination. Imagination develops in the process of accumulating impressions and figurative ideas; for this it is necessary to provide as much food for perception as possible. In his play, the child will combine what he sees and hears, transforming it into images taken from life and from books.

In order to understand the psychological mechanism of imagination and related creative activity, it is best to start by clarifying the connection that exists between fantasy and reality in human behavior.

The first form of connection between imagination and reality is that any creation of the imagination is always built from elements taken from reality and contained in a person’s previous experience.

Thus, the imagination always consists of materials given by reality. True, when this can be seen from the above passage, the imagination can create more and more new combination systems, first combining the primary elements of reality (cat, goal, oak), then secondarily combining fantasy images (mermaid, goblin), etc. But the last elements from which the most distant from reality fantastic idea is created. These last elements will always be impressions of reality.

Here we find the first and most important law to which the activity of the imagination is subject. This law can be formulated as follows: the creative activity of the imagination is directly dependent on the richness and diversity of a person’s previous experience, because this experience represents the material from which fantasy constructions are created. The richer a person's experience, the more material his imagination has at his disposal. This is why a child’s imagination is poorer than an adult’s, and this is explained by the greater poverty of his experience.

The second form of connection between fantasy and reality is another, more complex connection, this time not between the elements of a fantastic construction and reality, but between the finished product of fantasy and some complex phenomenon of reality. It does not reproduce what was perceived in previous experience, but creates new combinations from this experience.

The third form of connection between the activity of imagination and reality is an emotional connection. This connection manifests itself in two ways. On the one hand, every feeling, every emotion strives to be embodied in certain images that correspond to this feeling.

Fear, for example, is expressed not only in pallor, trembling, dry throat, altered breathing and heartbeat, but also in the fact that all the impressions perceived by a person at this time, all the thoughts that come to his mind are usually surrounded by the feeling that controls him. Fantasy images provide an internal language for our feelings. This feeling selects individual elements of reality and combines them into a connection that is determined from within by our mood, and not from without, by the logic of our images.

However, there is also a feedback connection between imagination and emotion. If in the first case we described, feelings influence the imagination, then in the other, opposite case, imagination influences feeling. This phenomenon could be called the law of emotional reality of the imagination.

Ribot formulates the essence of this law as follows: “All forms of creative imagination,” he says, “contain affective elements.” This means that any construction of fantasy has a negative impact on our feelings, and even if this construction does not correspond to reality in itself, to a truly experienced feeling that captivates a person.

It remains to be said about the fourth, final form of connection between fantasy and reality. This last form, on the one hand, is closely related to the one just described, but on the other hand, it differs significantly from it.

The essence of this last form is that the construction of fantasy can be essentially new, not in human experience and not corresponding to any really existing object, however, being embodied outside, having taken on material embodiment, this “crystallized” imagination, having become thing, begins to really exist in the world and influence other things. Such imagination becomes reality.

Examples of such crystallized or embodied imagination can be any technical device, machine or tool, etc. They are created by the combining imagination of man, they do not correspond to any pattern existing in nature, but they reveal the most convincing, effective, practical connection with reality, because, having become incarnate, they became as real as other things.

L.S. Vygotsky says that a child’s play “is not a simple memory of what he has experienced, but a creative processing of experienced impressions, combining them and building from them a new reality that meets the needs and desires of the child himself.”

Is it possible to develop the creative qualities of children? It is possible, since learning and creativity, say scientists (T.S. Komarova, D.V. Mendzheritskaya, N.M. Sokolnikova, E.A. Flerina, etc.). Creative learning is the way to develop children's creativity, points out E.A. Fleurina, that is, creativity should permeate the entire learning process. Scientists believe that it is important to create the necessary conditions for the development of children's creativity; provide space for children to play creatively; create an environment of gluttony and freedom; activate and stimulate children's imagination; provide competent pedagogical leadership.

In pedagogical literature, the concept of “theatrical play” is closely related to the concept of “dramatization game”. Some scientists identify these concepts, others consider dramatization games to be a type of role-playing games. So, according to L.S. Furmina, theatrical games are games - performances in which a literary work is played out in faces using such expressive means as intonation, facial expressions, gesture, posture and gait, that is, specific images are recreated. Theatrical and play activities of preschool children, according to L.S. Furmina, takes two forms: when the characters are objects (toys, dolls) and when the children themselves are in the image actor fulfill their assigned role. The first games (subject-based) are various types of puppet theater; the second games (non-objective) are dramatization games. A slightly different approach in the works of L.V. Artemova. According to her research, theatrical games differ depending on the leading methods of emotional expressiveness through which the theme and plot are played out. All theatrical games in this case are divided into two main groups: director's games and dramatization games. Directing games include tabletop, shadow theatre, flannelgraph theatre. In these games, a child or adult acts as all the characters.

The tabletop theater traditionally uses theater, toys, and picture theater. Now other types of tabletop theater are appearing: can theater, knitted theater, box theater, etc.

To the dramatization games of L.V. Artemova includes games based on the actions of the role player (adult and child), who can use bibabo or hand-held dolls finger theater, as well as costume elements.

Game-dramatization in science is defined as “pre-aesthetic activity” (A.N. Leontiev) and is one of the forms of transition to productive, aesthetic activity with its characteristic motive of influencing other people. Play-dramatization is considered as a type of artistic activity of preschoolers and meets their needs for something unusual, the desire to transform themselves into the images of fairy-tale characters, to imagine, to feel like someone else.

N.S. Karpinskaya notes that the results of preschoolers’ activities in the dramatization game are not yet art; however, by reproducing the content, children convey the images of the characters to the extent that it is accessible to them, therefore, an achievement is observed that gives the right to consider the dramatization game as an approximation to artistic activity, especially in older preschool age.

Conclusions

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

Theatrical activities create conditions for the development of creative abilities. This type of activity requires from children: attention, intelligence, speed of reaction, organization, the ability to act, obeying a certain image, transforming into it, living its life. Therefore, along with verbal creativity, dramatization or theatrical production is the most frequent and widespread type of children's creativity.

In the field of music education, the problem of child development through theatrical activities is reflected in the works of L.L. Pilipenko (formation of emotional responsiveness in younger schoolchildren), I.B. Nesterova (formation of sociocultural orientations), O.N. Sokolova-Naboychenko (musical and theatrical activities in additional education), A.G. Genina (formation of musical culture), E.V. Alexandrova (development of perception of a musical image in the process of staging a children's opera).

However, the possibilities of children's theatrical activity in the musical development of children have not yet been the subject of special research.

Let us consider the theatrical activities of preschool children in the aspect of theatrical games.

Theatrical play is very closely related to the plot-role-playing game and is its variety.

Role-playing game and theatrical play have a common structure (structure). They include substitutions, plot, content, game situation, role, role-playing actions.

Creativity is manifested in these types of games in the fact that children creatively produce everything that they see around them: the child conveys his feelings in the depicted phenomenon, creatively implements the idea, varies his behavior in the role, and uses objects and substitutes in the game in his own way.

In pedagogical literature, the concept of “theatrical play” is closely related to the concept of “dramatization game”. Some scientists identify these concepts, others consider dramatization games to be a type of role-playing games.

2. Musical development of preschool children in the process of theatrical activities

2.1 Musical development of preschool children

Music, like other forms of art, is a specific form of artistic reflection of reality. By deeply and diversely influencing the feelings and will of people, music can have a beneficial effect on their social activities, influence the formation of personality.

The effect of the educational role of music, as well as the direction and nature of its social impact, seem to be the most important criteria that determine the social significance of music and its place in the system of spiritual and cultural values.

Today, when the world of music is represented by an extremely wide range of different styles and trends, the problem of cultivating good taste in the listener, capable of distinguishing highly artistic examples of musical art from low-grade ones, becomes especially urgent. Therefore, it is very important to develop high spiritual needs and versatile artistic abilities in the younger generation. To do this, it is necessary to use highly artistic examples of music from various cultures and, of course, the music of one’s own people in the everyday practice of musical teaching and raising children.

Music plays a special role in raising a child. A person comes into contact with this art from birth, and he receives targeted musical education in kindergarten - and subsequently at school. Musical education is one of the means of shaping a child’s personality. In musical education, children's perception of music is the leading activity. Both performance and creativity of children are based on vivid musical impressions. Information about music is also given based on its “live” sound. Developed perception enriches all musical abilities of children; all types of musical activities contribute to the development of the child’s abilities.

According to experts, preschool age is a synthetic period for the formation of musical abilities. All children are naturally musical. Every adult needs to know and remember this. It depends on him and only on him what the child will become in the future, how he will be able to use his natural gift. “Childhood music is a good educator and a reliable friend for life.”

Early manifestation of musical abilities indicates the need to begin the musical education of a child as early as possible. The time lost as an opportunity to develop the child’s intelligence, creative and musical-sensory abilities will be irreplaceable. Therefore, the area of ​​research is the methodology of musical education of children of senior preschool age.

Preschool age is the period when the initial abilities are formed, which determine the possibility of introducing the child to various types of activities. As for the area of ​​musical development, this is where examples of early manifestations of musicality are found, and the task of the teacher is to develop the child’s musical abilities and to familiarize the child with music. Music has the ability to evoke active actions in a child. He singles out music from all sounds and focuses his attention on it. Therefore, if music has such a positive effect on a child already in the first years of his life, then it is necessary to use it as a means pedagogical impact. In addition, music provides rich opportunities for communication between an adult and a child and creates the basis for emotional contact between them.

The child, imitating an adult, sings along with individual sounds, the ends of phrases, and then simple songs and sing-alongs; later the formation of actual singing activity begins. And here the teacher’s task is to strive to develop children’s singing sound, to increase the amount of vocal and choral skills available for this age. Children can be encouraged to convey in their singing their attitude towards the piece being performed. For example, some songs should be sung cheerfully and cheerfully, while others should be sung tenderly and affectionately.

To remember something, passive listening is not enough; you need to actively analyze the music. Visual aids in music classes for preschoolers are necessary not only for a more complete disclosure of the musical image, but also for maintaining attention. Without visual aids, children quickly become distracted. V.A. Sukhomlinsky wrote: “the attention of a small child is a capricious “creature.” It seems to me like a timid bird that flies away from the nest as soon as you try to get close to it. When you finally manage to catch the bird, you can only hold it in your hands or in a cage. Don't expect a bird to sing if it feels like a prisoner. So is the attention of a small child: “if you hold it like a bird, then it is a bad helper.”

In the development of all types of musical activity of preschool children, the formation of musical and sensory abilities is especially important. The basis of this formation is the child’s listening, distinguishing and reproducing the four properties of musical sound (pitch, duration, timbre and strength).

Understanding the problem of developing musical perception in such a broad sense, the teacher encourages children to listen to the music being played throughout the entire lesson. Only when the music in the lesson ceases to be a sound background, when the constantly changing character and mood expressed in it, children will feel and realize, express in their performing and creative activities, the acquired skills and abilities will benefit musical development. This will contribute to the main task of musical education - the development of emotional responsiveness, instilling interest and love for music.

Modern approaches to musical education of preschool children.

Currently, little attention is paid to the formation of children's musical and sensory abilities. Meanwhile, research by such famous scientists and teachers as L.S. Vygotsky, B.M. Teplov, O.P. Radynova proves the possibility and necessity of forming memory, imagination, thinking, and abilities in all children without exception. The subject of the study was specially organized music classes, in which musical and didactic games and manuals were the leading activity. Based on this, the object of the study is the use of visual-auditory and visual-visual methods in combination with verbal ones, as the most effective in the musical-sensory development of preschool children.

Unfortunately, work on musical and sensory education in preschool institutions is not always organized at the proper level. Obviously, this is explained by the lack of material resources, the lack of ready-made musical and didactic aids in the trading network.

Of course, the very organization of the use of musical-didactic games requires the teacher to understand the significance and value of children’s musical-sensory development, great creativity and skill, the ability and desire to aesthetically produce and design the material, and not every music director has such abilities.

In pedagogy, there are various approaches to characterizing and classifying teaching methods, the most common are: visual, verbal and practical methods.

In the musical education of children, the following types of musical activity are distinguished: perception, performance, creativity, musical educational activities. They all have their own varieties. Thus, the perception of music can exist as an independent type of activity, or it can precede and accompany other types. Performance and creativity are carried out in singing, musical-rhythmic movements and playing musical instruments. Musical educational activities include general information about music as an art form, musical genres, composers, musical instruments, etc., as well as special knowledge about performance methods. Each type of musical activity, having its own characteristics, presupposes that children master those methods of activity without which it is not feasible, and has a specific impact on the musical development of preschool children. For this reason, it is important to use all types of musical activities.

Due to different musical and life experiences, the perception of a child and an adult is not the same. The perception of music by young children is characterized by its involuntary nature and emotionality. Gradually, with the acquisition of some experience, as he masters speech, the child can perceive music more meaningfully, correlate musical sounds with life phenomena, and determine the nature of the work. In children of senior preschool age, with the enrichment of their life experience and experience of listening to music, the perception of music gives rise to more diverse impressions.

The nuances of music develop in children from an early age. At each age stage, the child distinguishes the most vivid means of expression with the help of the capabilities that he has - movement, words, play, etc. Therefore, the development of musical perception should be carried out through all types of activities. Listening to music can be put in first place here. Before performing a song or dance, the child listens to music. Receiving various musical impressions from childhood, the child gets used to the intonation language of folk classical and modern music, accumulates experience in perceiving music of different styles, and comprehends the “intonation vocabulary” of different eras. The famous violinist S. Stadler once remarked: “To understand a wonderful fairy tale in Japanese, you need to know it at least a little.” The acquisition of any language begins in early childhood and musical language is no exception. Observations indicate that young children enjoy listening to ancient music by J. S. Bach, A. Vivaldi, W. A. ​​Mozart, F. Schubert and other composers - calm, cheerful, affectionate, playful, joyful. They react to rhythmic music with involuntary movements. Throughout preschool childhood, the circle of familiar intonations expands, consolidates, preferences are revealed, and the beginnings of musical taste and musical culture as a whole are formed.

The perception of music is carried out not only through listening, but also through musical performance - singing, musical-rhythmic movements, playing musical instruments.

For the formation of musical-auditory concepts, it is important to know that musical sounds have different pitches, that a melody is made up of sounds that move up, down, or repeat at the same pitch. The development of a sense of rhythm requires knowledge that musical sounds have different lengths - they can be long and short, that they move and their alternation can be measured or more active, that rhythm affects the character of the music, its emotional coloring, and makes various genres more recognizable. The formation of a motivated assessment of musical works, in addition to the accumulation of auditory experience, requires certain knowledge about music, its types, composers, musical instruments, means of musical expression, musical genres, forms, mastery of certain musical terms (register, tempo, phrase, part, etc.)

Musical educational activities do not exist in isolation from other types. Knowledge and information about music are not given to children on their own, but in the process of perceiving music, performance, creativity, along the way, to the point. Each type of musical activity requires certain knowledge. To develop performance and creativity, special knowledge about the methods, techniques of performance, and means of expression is needed. By learning to sing, children acquire the knowledge necessary to master singing skills (sound production, breathing, diction, etc.). In musical-rhythmic activities, preschoolers master various movements and methods of their execution, which also requires special knowledge: about the unity of the nature of music and movements, about the expressiveness of the playing image and its dependence on the nature of the music, on the means of musical expressiveness (tempo, dynamics, accents, register, pauses). Children learn the names of dance steps, learn the names of dances and round dances. While learning to play musical instruments, children also gain certain knowledge about the timbres, methods, and techniques of playing different instruments.

Children show inclinations towards certain types of musical activities. It is important to notice and develop in every child the desire to communicate with music, in the type of musical activity in which he shows the greatest interest, in which his abilities are most fully realized. This does not mean that other types of musical activity should not be mastered by him. However, one cannot ignore the position of psychology on the leading types of activities that influence the development of personality. If these leading types of activity appear in preschool childhood, it is necessary to take into account the characteristics of each child and, accordingly, orient the process of musical education towards the development of his abilities, inclinations, and interests. IN otherwise, as we have already noted, the learning process comes down to “training”. If training is carried out without an individually differentiated approach, it ceases to be developmental.

In connection with the ongoing changes in the cultural and moral sphere of life in Russian society, the role of raising children from a very early age is increasing. According to many authors, one of the ways to overcome negative phenomena in the spiritual sphere can be the musical education of children at the earliest stages.

Music “lessons” not only introduce children to musical instruments, but also allow them to master the basics of vocal breathing, develop their voice and hearing, and broaden their horizons.

The children listen to classical music and perform theatrical sketches aimed at developing the emotional and figurative sphere. The musical development of young children encourages children to be creative, and helps parents and teachers quickly reveal the child’s talents and aspirations.

Such scientists and teachers as Asafiev, Vinogradov, Gusev, Novitskaya and many others highlight folk music as the basis for musical education and upbringing of children. Folk art serves as the highest manifestation of historical authenticity, high ideals and developed aesthetic taste.

The moral and aesthetic content of folk musical and poetic creativity, the enduring value of its pedagogical and psychotherapeutic capabilities convince us of the need to preserve and widely use folklore in modern practice of upbringing and education. Turning to folk culture as a source of education, one can find fertile ground for the formation and development of various qualities in children: intellectual, moral, aesthetic.

The use of folklore material in musical education inevitably leads to the search for new forms and methods of working with children, where the child is not just an object of education, but becomes a participant in a creative act, which in turn activates the development of his musical and creative abilities.

2.2 Specifics of theatrical activities in the process of musical development of children

Modern psychological and pedagogical science has data that all types of art develop in children not only artistic abilities, but also “a universal universal human ability, which, being developed, is realized in any sphere of human activity” (E.I. Ilyenkov) - ability to be creative. And the sooner a child encounters art, the more effective the process of developing this ability will be.

As you know, 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 meaning and content in the theater is a stage performance that arises in the process of playful interaction between actors. However, in the field of primary musical education of children, musical and theatrical activity seems to be the least developed area, while its effectiveness is obvious, as evidenced by numerous psychological and pedagogical studies.

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

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

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

Theatrical performances and playing musical works occupy an important place in the holistic musical education of a 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 accessible to everyone and has a beneficial effect on the child’s creative development, his openness, liberation, and allows the child to be freed from unnecessary shyness and complexes.

By its nature, theatrical art is closest to 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 leading children's activities. The most important component of children's play and theater is the role of mastering and understanding the surrounding reality, as its artistic reflection. In gaming activities, the role is mediated through the play image, and in the theater - through the stage image. The forms of organization of these processes are also similar: - play - 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.

As a rule, the material for stage implementation is fairy tales, which provide “an unusually bright, broad, multi-valued image of the world.” By participating in dramatization, the child, as it were, enters the image, transforms into it, lives its life. This is perhaps the most difficult implementation, because... it does not rely on any materialized model.

In this case, the number and volume of sensory-perceptual analyzers (visual, auditory, motor) increases in children.

The natural predisposition of preschoolers to “hum” and “dance” explains their keen interest in perceiving and participating in musical and theatrical performances. Satisfying these age-related needs in musical and theatrical creativity frees the child from inhibitions, gives him a sense of his own specialness, and brings the child a lot of joyful moments and great pleasure. The perception of “singing words” in a musical performance becomes more conscious and sensual due to the connection of sensory systems, and one’s own involvement in the action allows the child to look not only at the stage, but also into “himself,” to grasp his experience, record it and evaluate it.

Introducing children aged 5-8 years to musical and theatrical creativity in groups for musical and aesthetic development.

Theatricalism in working with children should be used from a very young age. Kids happily depict the habits of animals in small scenes, imitating their movements and voices. With age, the tasks of theatrical activities become more complicated; children stage short fairy tales and poetic works. It is also necessary to involve teachers in theatricalization, who, like children, will take on the roles of heroes of fairy tales. It is also important to involve parents in the preparation of performances, thereby bringing the family closer to the life of children in kindergarten. Joint events between adults, older children and our students create mutual interest in theatrical activities.

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

It is known that the basis of a 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 (pitch, duration, strength, timbre of sound), actually represented in sound images of the surrounding world (for example, a woodpecker knocks, a door creaks, a stream gurgles, etc.). d.).

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

Children's theatrical activities include several sections: the basics of puppeteering, acting, play creativity, imitation of musical instruments, children's song and dance creativity, holding holidays and entertainment.

To conduct classes, entertainment and performances, together with teachers and parents, it is necessary to make decorations, attributes, masks, costumes of fairy-tale characters, emblems, noise musical instruments (cans of cereals, stones; boxes with sticks, etc.)

With kids, you can pay attention to the reflection of fairy-tale images of animals, analyzing the nature of movement, intonation: a large and small bird is flying, happy and sad hares, snowflakes are spinning, falling to the ground. Use psycho-gymnastics exercises: it’s raining, the wind is blowing, the sun is shining, there’s a cloud.

In general, it is necessary to ensure that children convey the mood, change their facial expressions, send off work with children, an important aspect is to encourage children’s participation in performances, the desire to play a role. During the learning process, children learn to correctly name theatrical equipment, treat it with care, navigate the space of the hall, and monitor the development of the action. Much attention You need to pay attention to the child’s speech, the correct pronunciation of words, the construction of phrases, trying to enrich the speech. Together with your children, you can compose small stories, and together come up with dialogues for the characters. Children can independently compose and act out any story.

Older preschoolers can compose melodies in the lullaby genre for a bear, doll, etc. In dance creativity, attention should be paid to cultivating interest and desire to move in various images - animals, snowflakes, parsleys. Various attributes should be used in classes: flowers, leaves, ribbons, fireworks, handkerchiefs, cubes, balls, etc.

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

In older groups, it is necessary to achieve expressive speech, develop an understanding of moral qualities, and the rules of conduct for spectators at a 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 character, be able to analyze their performance and the performance of other characters, and learn new techniques for playing musical instruments.

Theatrical activities leave a lot of scope for the child’s creativity, allowing him to come up with this or that sound of actions, choose musical instruments for performance, and the image of his hero. If they wish, children should be able to choose their own roles, without any coercion.

It is possible to use games for attention and imagination, I strive to vividly convey a diverse image. In dance creativity, a child has the opportunity to gain cheerful, self-affirming self-confidence, which becomes an excellent background for the development of his intellectual sphere.

Supporting the initiative to improvise on musical instruments, singing, dance and theater activities allows children to develop a “living” interest in music lessons, turning them from a boring task into a fun performance. Theatrical activities contribute to the mental and physical development of the child, and allow, through theatrical play, to learn about the norms, rules and traditions of the society in which he lives.

The following musical equipment can be used:

Musical instruments for the work of a music director;

Children's musical instruments;

Musical toy;

Musical and didactic aids: educational and visual material, board music 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 thereby gives impetus to the further development of the child’s abilities.

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

Musical and theatrical activities make it possible to develop the experience of social behavioral skills due to the fact that every literary work or fairy tale for preschool children always has a moral orientation (friendship, kindness, honesty, courage, etc.)

Musical and theatrical activities are a synthetic form of working with children in musical and artistic education. It includes:

Perception of music;

Song and game creativity;

Plastic intonation;

Instrumental music playing;

Artistic word;

Theatrical games;

Stage action with a single artistic concept.

The most effective methods for listening to music are the following:

- “Listen and tell me”

- “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, plastic movements, and dance improvisations. In productions of fairy tales or musicals, the figurative dances of the characters occupy one of the most striking and interesting places.

Theatrical activity includes the following points of musical development:

1. Dramatization of songs;

2. Theater sketches;

3. Entertainment;

4. Folklore holidays;

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

ON THE. Vetlugina, in her research, comprehensively analyzed the capabilities of children in performing creative tasks, the origins of children's creativity, the ways of its development, substantiated the idea of ​​​​the relationship, the interdependence of children's learning and creativity, theoretically and experimentally proving in her works that these processes do not oppose, but are closely in touch and mutually enriching each other. It was found that necessary condition the emergence of children's creativity - 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 and directly applies everything that he has learned during the learning process. In turn, learning is enriched by the creative manifestations of children and acquires a developmental 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 are not the artistic value of the musical image created by the child, but the presence of emotional content, 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, creativity requires imagination, imagination, and 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 activities: singing, rhythm, playing children's musical instruments. It is important to develop song creativity starting from early preschool age, using creative tasks that are feasible for children. The success of children's creative expressions depends on the strength of their singing skills, the ability to express certain feelings and moods in singing, and to sing clearly and expressively. In order to orient preschoolers in the songwriting of N.A. Vetlugina offers exercises for accumulating auditory experience and developing musical and auditory concepts. 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 be manifested in rhythm and playing musical instruments. The creative activity of children in rhythm largely depends on the organization of training in musical and rhythmic movements. A child’s full-fledged creativity 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 kind of scenario for children’s independent actions. Program music takes leading place in creative tasks, since poetic text and figurative words help the child better understand its content.

Children's instrumental creativity, 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 basic skills in playing musical instruments, various methods of sound production, which 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 and character of the music. Depending on the nature of the image to be conveyed, children choose certain means of expression; this helps children to deeply feel and understand the features of the expressive language of music, and 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 take a closer look at them.

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 program authors based their work on the fact that initially, in the early stages of the development of human art history, it 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 classes with children: “synthesis makes it possible to combine different arts in the interests of their mutual enrichment, enhancing figurative expressiveness.”

“The education 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 development artistic culture child.

This program is based on the interaction of several organizational principles music lessons with kids:

Special selection of musical repertoire;

Using a synthesis of arts;

The use of other types of musical activities of children as auxiliary ones in classes on listening to music: singing, playing in an orchestra, conducting.

Development of some blocks of music lesson content and their plot outline.

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

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

The works of visual art offered in the program are not limited to the task of providing 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 connections. This awakens the child’s creative imagination and stimulates his imaginative thinking. Landscapes by A. Savrasov, I. Levitan, I. Grabar help create a poetic atmosphere and serve as a kind of overture that sets the mood for the perception of music dedicated to pictures of Russian nature (P. Tchaikovsky, S. Prokofiev, G. Sviridov).

Working according to the program involves variability in classes. The authors recommend highlighting music listening in independent study, and spends it in the afternoon. Along with the program, the package of materials includes: “Anthology of the musical repertoire”, “Methodological recommendations”, a cassette with studio recordings of musical works, a set of slides, videotapes 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 the 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 large sections: “Chamber and symphonic 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 the opera by 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”.

Training according to the program is carried out taking into account the basic principles of developmental education: emotional stimulation of educational and cognitive activity, development of cognitive interest in the child, 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 problem facing him. learning task- ensuring that children develop positive motivation for their actions in mastering musical and theatrical art.

Creating situations of success in the classroom is one of the main methods of emotional stimulation and represents chains of situations specially created by the teacher in which the child achieves good results, which leads to a feeling 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 achieved goals.

Method of forming readiness of perception educational material using the zone of proximal development and the method of stimulating with entertaining content while selecting bright, imaginative texts are the main methods for developing children’s cognitive interest in the theater.

Creation method problem situations consists in presenting the lesson material in the form of an accessible, imaginative and vivid problem. Children, by virtue of their age characteristics They are distinguished by great curiosity, and therefore any problem clearly and accessiblely presented immediately “ignites” them. The method of creating a creative field (or the method of solving problems of a divergent nature) is key to ensuring a creative atmosphere in the team. Working “in the creative field” creates the opportunity to search for different ways to solve problems, to search for 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 play forms in organizing children's activities. The method of transferring gaming 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 in the “Theater Steps” program is a game. Game training as a special form of communication in the process of musical and theatrical activities of preschool children 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), fundamental components of acting, as well as the development of musicality, vocal-auditory and musical-motor skills.

The program has a certain logic for mastering educational material: the initial orientation of children in the means of acting expressiveness and their mastering of the elementary skills of musical and stage transformation (improvisation, fantasy, 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 children mastering individual and collective actions of perception of the surrounding reality, its analysis and control; to orient children in the means of acting expressiveness, based on pantomimic and verbal-emotional improvisations, as well as to children’s mastery of vocal-choral and musical-rhythmic components of musical and stage activities; to master the skills of verbal actions and stage speech; to include 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 actions depending on the year of study.

I. “Theater primer”, the so-called “first step”, is a cycle of integrated activities, including games for the development of attention, imagination, 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 fascinating world of the 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 him to master the surrounding reality; a condition for the personal development and creative growth of the child.

This type of activity helps children experience and understand a particular situation, activates children’s desire to act, develops readiness to positively accept the positions of another person, and contributes to the development of qualities necessary for future life in society.

During the first year of study, children develop:

Collective action skills (monitoring and evaluating one’s own actions and the actions of comrades, comparing one’s actions with the actions of other children, interaction);

The skills to perceive and control objects of the surrounding reality through visual, auditory and tactile analyzers and the skills of psychophysical and emotional liberation through activating the muscles of the face and body are developed;

Initial generalized ideas about the concepts of “artistic image”, “means of creation” are formed. artistic image”

Specific elementary skills for creating this image using various artistic, stage and musical means are formed (pantomime, speech 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 stage”, is an activity where children are involved in creative work for staging a musical performance. The skills acquired during classes 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 child’s abilities and acquired skills to maximize the use of his creative potential when creating a musical performance as a creative product of a large group of small actors.

During classes at this “step”, children do the following:

Rethinking previously acquired skills and abilities using new specific musical and stage material;

There is a further clarification of the concepts of “artistic image” and “means of creating an artistic image”;

Initial ideas about the concepts of “performance”, “role”, “scene of the performance”, “acting ensemble” are formed;

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

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

A steady interest is being formed in theatrical art in general and musical theater in particular.

At this stage, the use of such forms of organizing musical and theatrical activities as drama theater and the production of musicals is typical. An example of a musical play is L. Polyak’s play “Turnip” (see appendix).

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

“Conversations about the theater” are a systematic cycle of problem-search activities in which, satisfying their interest, children engage in research activities to study the nature of theater in general, and musical theater in particular. Solution educational objectives, put forward by the program, is ensured by a certain logic of presentation of 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 master the basic elements of musical and stage activities in new theatrical productions.

The methodological support of the “Theater Steps” program includes a set of specially developed manuals and practical materials (“Theater Steps: ABC of Games”, “Theater Steps: Musical Theatre”, “Theater Steps: Conversations about the Theater”). Educational developments for children (“Guide to Musical Theatre”) provide for the child to independently complete some tasks at home in order to consolidate the impressions of the information received during the lesson.

The practice of working under this program shows that by the end of the third year of study, children adequately perceive, analyze images of the surrounding reality and creatively reflect them, embodying ideas and fantasies through the means of acting expressiveness. They master the necessary basic 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 spectator culture, which is ensured by a conscious perception of works of musical and theatrical genres (opera, ballet, operetta, musical, etc.).

conclusions

Music plays a special role in raising a child. Preschool age is the period when initial abilities are formed, which make it possible for the child to become involved in various types of activities, including music.

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

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

Theatrical activities leave a lot of scope for the child’s creativity, allowing him to come up with this or that sound of actions, choose musical instruments for performance, and the image of his hero.

When analyzing training programs that combine theatrical performance and musical education, I showed that almost all of 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. program Vasilyeva use technologies using theatrical activities, such as: E.G. Churilova “Methodology and organization of theatrical activities of preschoolers and junior schoolchildren”, A.E. Antipina “Theatrical activities in kindergarten” and S.I. Merzlyakova " Magic world theater."

At the same time, programs stand apart creative group“Synthesis” and the author’s program E.G. Sanina "Theater steps".

Conclusion

From a very early age, a child needs to be enriched with vivid artistic impressions, knowledge, and the ability to express his emotions. This promotes creativity in various types 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 child’s personality as a whole.

In the psychological and pedagogical literature, both musical development and theatrical activities of preschool children are widely considered. However, the possibilities of children's theatrical activity in the musical development of children have not yet been the subject of special research.

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

Theatrical activities include the following aspects of musical development: dramatization of songs; theatrical sketches; folklore holidays; fairy tales, musicals, vaudeville, theatrical performances.

When analyzing training programs that combine theatrical performance and musical education, I showed that almost all of 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. program Vasilyeva use technologies using theatrical activities, such as: E.G. Churilova “Methodology and organization of theatrical activities of preschoolers and junior schoolchildren”, A.E. Antipina “Theatrical activities in kindergarten” and S.I. Merzlyakova “The Magic World of Theater”.

At the same time, the programs of the creative group “Synthesis” and the author’s program of E.G. stand apart. Sanina "Theater 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.

Bibliography:

1. Antipina A.E. Theatrical activities in kindergarten. - M.: VLADOS, 2003. – 103 s.

2. Bekina S.I. Music and movement - M.: Education, 1984 – 146 p.

3. Berezina V.G., Childhood of a creative personality. - St. Petersburg: Bukovsky Publishing House, 1994. - 60 p.

4. Rich V. Develop creative thinking(TRIZ in kindergarten). // Preschool education. - No. 1. – 1994. - pp. 17-19.

5. Wenger N.Yu. The path to developing creativity. // Preschool education. - No. 11. – 1982. - P. 32-38.

6. Veraksa N.E. Dialectical thinking and creativity. // Questions of psychology. - 1990 No. 4. pp. 5-9.

7. Vetlugina N.A. Musical education in kindergarten - M.: Education, 1981 – 240 p.

8. Vetlugina N.A., Musical education in kindergarten - M.: Education, 1981

9. Vygotsky L.N., Imagination and creativity in preschool age. - St. Petersburg: Soyuz, 1997. - 92 pages.

10. Vygotsky L.N., Imagination and creativity in preschool age. - St. Petersburg: Soyuz, 1997. 92 pages.

11. Godefroy J., Psychology, ed. in 2 volumes, volume 1. - M. Mir, 1992. pp. 435-442.

12. Golovashchenko O.A. Development of the creative potential of the emerging personality, through project activities in music and choral theater classes. // Preschool education. – No. 11. - 2002. – P. 12

13. Dyachenko O.M., What does not happen in the world. - M.: Knowledge, 1994. 157 pages.

14. Endovitskaya T. On the development of creative abilities. - Preschool education. - 1967 No. 12. pp. 73-75.

15. Efremov V.I. Creative upbringing and education of children based on TRIZ. - Penza: Unikon-TRIZ.

16. Zaika E.V. A set of games for developing imagination. - Questions of psychology. - 1993 No. 2. pp. 54-58.

17. Ilyenkov E.I. About the “specificity” of art. // Questions of philosophy. - 2005. - No. 5. - P.132-144.

18. Kartamysheva A.I. Musical and theatrical activities as a means of developing artistic and performing skills in preschool children. – Minsk: MGI, 2008. – 67 p.

19. Kolenchuk I.V. Development of musical abilities of preschool children through theatrical activities // Art at school. - 2007. - N 11. - P. 64-66.

20. Krylov E. School of creative personality. - Preschool education. -1992 No. 7,8. pp. 11-20.

21. Kudryavtsev V., Preschool child: a new approach to diagnosing creative abilities. -1995 No. 9 pp. 52-59, No. 10 pp. 62-69.

22. Lebedeva L.V. Formation of the foundations of musical culture of preschool children through the world of a musical fairy tale // Preschool education. - No. 10. – 2007. – P. 21

23. Levin V.A., Nurturing creativity. – Tomsk: Peleng, 1993. 56 pages.

24. Luk A.N., Psychology of creativity. - Science, 1978. 125 pp.

25. Methods of music education in kindergarten / pod. Ed. N.A. Vetlugina. – M, 1982

26. Migunova E.V. Organization of theatrical activities in kindergarten: Educational and methodological manual. - Veliky Novgorod: NovSU named after. Yaroslav the Wise, 2006. - 126 p.

27. Murashkovskaya I.N., When I become a wizard. - Riga: Experiment, 1994. 62 pp.

28. Nesterenko A. A., Country of Fairy Tales. - Rostov-on-Don: Rostov University Publishing House. - 1993. 32 pp.

29. Nikitin B., We, our children and grandchildren, - M.: Young Guard, 1989. pp. 255-299.

30. Nikitin B., Educational games. - M.:3knowledge, 1994.

31. Palashna T.N., Development of imagination in Russian folk pedagogy. - Preschool education. -1989 No. 6. pp. 69-72.

32. Poluyanov D. Imagination and abilities. - M.: 3knowledge, 1985. – 50 p.

33. Poluyanov D., Imagination and abilities. - M.: 3knowledge, 1985. 50 pages.

34. Prokhorova L. Developing the creative activity of preschoolers. - Preschool education. - 1996 No. 5. pp. 21-27.

35. Prokhorova L. Developing the creative activity of preschoolers. // Preschool education. - No. 5. - 1996. - P. 21-27.

36. Savina E.G. The theater steps program in the practice of the development groups of children's music schools and children's art schools. // Ekaterinburg: Methodological Center for Art Education – 65 p.

37. Independent artistic activity of preschool children / Ed. N.A. Vetlugina. - M.: Pedagogy, 1980. – 120 p.

38. Samukina L.V. Games at school and at home: psychotechnical exercises and correctional programs - M.: INFRA, 1995 - 88 p.

39. Safonova O. Preschool: fundamentals of education quality management // Preschool education - No. 12, - 2003. – P. 5 – 7

40. “Synthesis” program for the development of musical perception in children based on the synthesis of arts (6th year of life) / edited by K.V. Tarasova - M.: INFRA, 1998 - 56 p.

41. Solovyanova O. The role of children's musical theater in vocal training of students at the College of Musical and Theater Arts // Art at school. - 2008. - N 1. - pp. 74-77.

42. Solovyanova O.Yu. Musical and theatrical activity as a condition for intensifying the vocal development of students. // Music education: scientific search in solving current problems of the educational process. - M.: Education, 2009. Volume 1. - P.63-67.

43. Tanina L.V. Development of creativity in the artistic activity of preschoolers // Materials of the All-Russian Scientific and Practical Conference: Problems of Preschool Education in modern stage. – Tolyatti, 2003. – P. 5 – 7

44. Khalabuzar P., Methods of musical education - M., 1989

45. Churilova E.G. Methods and organization of theatrical activities for preschoolers and primary schoolchildren, M.: VLADOS, 2001. – 71 p.

46. ​​Shusterman M.N., "Cookbook" book of the educator. - Norilsk, 1994. - 50 p.

Annex 1

Children's Drama Theatre.

Grandfather (addresses the audience).

How much power does the Mouse have?!

Well, friendship won!

Together we pulled out a turnip,

That she sat firmly in the ground.

Grandma (addresses Grandfather).

Eat to your health, Grandfather,

Your long-awaited lunch!

Granddaughter (addresses Grandfather).

Treat Grandma and Granddaughter too.

Zhuchka (addresses Grandfather).

Serve the bone to Bug.

Murka (addressing Grandfather).

Independent artistic activity of preschool children / Ed. N.A. Vetlugina. - M.: Pedagogy, 1980. – P. 4 (37)

Tanina L.V. Development of creativity in the artistic activity of preschoolers // Materials of the All-Russian Scientific and Practical Conference: Problems of preschool education at the present stage. – Tolyatti, 2003. – P. 5 (43)

Lebedeva L.V. Formation of the foundations of musical culture of preschool children through the world of a musical fairy tale // Preschool education. - No. 10. – 2007. – P. 21 (22)

Krylov E. School of creative personality. - Preschool education. -1992. - No. 8. - P. 11-20 (20)

Ilyenkov E.I. About the “specificity” of art. // Questions of philosophy. - 2005. - No. 5. - P.132-144. (17)

“Synthesis” is a program for the development of musical perception in children based on the synthesis of arts (6th year of life) / edited by K.V. Tarasova - M.: INFRA, 1998 - P. 6 (40)

Savina E.G. The theater steps program in the practice of the development groups of children's music schools and children's art schools. // Ekaterinburg: Methodological Center for Art Education – P. 3 – 4 (36)

Migunova E.V. Organization of theatrical activities in kindergarten: Educational and methodological manual. - Veliky Novgorod: NovSU named after. Yaroslav the Wise, 2006. – P. 57 (26)

Solovyanova O.Yu. Musical and theatrical activity as a condition for intensifying the vocal development of students. // Music education: scientific search in solving current problems of the educational process. - M.: Education, 2009. Volume 1. - P.63-64. (41)

Olga Kravchenko
"Musical and theatrical activities." Consultation for educators

Every child has a need for creativity activities. In childhood, a child seeks opportunities to realize his potential, and it is through creativity that he can most fully reveal himself as a person. Creative activity is activity, giving birth to something new; free reflection of personal "I". Any creativity for a child is more a process than a result. During this process, he better expands his experience, enjoys communication, and begins to trust himself more. This is where special qualities of the mind are required, such as observation, the ability to compare and analyze, to find connections and dependencies - all that together constitutes creative abilities.

Children's creativity is one of the current problems preschool pedagogy and child psychology. It was studied by L. S. Vygotsky, A. N. Leontiev, L. I. Wenger, N. A. Vetlunina, B. M. Teplov and many others.

Teatralnaya activity- This is the most common type of children's creativity. It is close and understandable to the child, lies deeply in his nature and is reflected spontaneously because it is connected with play. The child wants to translate any of his inventions, impressions from the life around him into living images and actions. It is through theatrical activity every child can express their feelings, emotions, desires and views, not only in private, but also publicly, without being 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 activity leads to significant changes in development musical creative abilities in children.

Specifics of theatrical activities in the process of musical development of children

Musical education is a synthesis of various types activities. Process musical education includes all types musical activity and including theatricalization. During GCD, theatricalization should occupy a significant place, since, along with other types activities theatricalization has a great influence on a child’s development musical creative abilities, imaginative thinking.

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

Elements of theatricalization can be used both during entertainment events and holidays, and in basic classes. In progress musical education of children, the exercises performed by the child gradually become more complex, and at the same time his self-realization in the creative sphere increases.

Theatrical performances, acting out musical works occupy an important place in the holistic musical education of a child. Theatricalization allows a child of any age and gender to discover the opportunity "play" and learn at the same time. Similar view activities accessible to everyone and has a beneficial effect on the creative development of a preschooler, his openness, liberation, and allows him to rid the child of unnecessary shyness and complexes.

As a rule, the material for stage implementation is fairy tales that give “an unusually bright, broad, multi-valued image of the world”. By participating in dramatization, the child, as it were, enters the image, transforms into it, lives its life. This is perhaps the most difficult action to perform, since it is not based on any materialized model.

Musical the theatrical component expands developmental and educational opportunities of the theater, enhances the effect of emotional impact on both the mood and worldview of the child, since a coded language is added to the theatrical language of facial expressions and gestures musical language of thoughts and feelings. In this case, the number and volume of analyzers increases in children (visual, auditory, motor) .

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

Teatralnaya activity children includes several sections:

Basics of puppeteering,

Acting skills,

Game creativity,

Simulation on musical instruments,

Song and dance creativity of children,

Celebrations and entertainment.

Main goals

1. Children’s gradual mastery of various types of creativity by age group

2. Consistently introduce children of all age groups to various types of theater (puppet, drama, opera, ballet, musical comedies)

3. Improving the artistic skills of children in terms of experiencing and embodying the image. Modeling social behavior skills in given conditions.

Types of theater in children's garden:

Tabletop theater

Book-theater

Five Finger Theater

Masque

Hand shadow theater

Finger shadow theater

Theater "alive" shadows

Magnetic Theater

Main areas of work with children

Theater game

Tasks: Teach children to navigate in space, evenly space themselves around the playground, and build a dialogue with a partner on a given topic. Develop the ability to voluntarily tense and relax individual muscle groups, remember the words of the characters in performances, develop visual auditory attention, memory, observation, imaginative thinking, fantasy, imagination, interest in the performing arts.

Rhythmoplasty

Tasks: Develop the ability to spontaneously respond to a command or musical signal, readiness to act in a coordinated manner, develop coordination of movement, learn to remember given poses and convey them figuratively.

Culture and technique of speech

Tasks: Develop speech breathing and correct articulation, clear diction, varied intonation and logic of speech; learn to write short stories and fairy tales, select simple rhymes; pronounce tongue twisters and poems, expand your vocabulary.

Fundamentals of theatrical culture

Tasks: To introduce children to theatrical terminology, the main types of theatrical art, bring up culture of behavior in the theater.

Work on the play

Tasks: Learn to compose sketches based on fairy tales; develop skills in working with imaginary objects; develop the ability to use intonations that express various emotional states (sad, happy, angry, surprised, delighted, pitiful, etc.).

Organization of a theatrical corner activities

In kindergarten groups, corners for theatrical performances and performances are organized. They provide space for director's games with finger and table theater.

In the corner are located:

- various types of theaters: bibabo, tabletop, theater on flannelgraph, etc.;

Props for acting out scenes and performances: a set of dolls, screens for a puppet theater, costumes, costume elements, masks;

Attributes for various games positions: theatrical props, scenery, scripts, books, samples musical works, posters, cash register, tickets, pencils, paints, glue, types of paper, natural materials.

Forms of theatrical organization activities

When choosing material for dramatization, you need to build on the age capabilities, knowledge and skills of children, enrich their life experience, stimulate interest in new knowledge, expand creative potential:

1. Joint theatrical performance activities of adults and children, theatrical activity, theatrical play at holidays and entertainment.

2. Independent theatrical and artistic activity, theatrical play in everyday life.

3. Mini-games in other classes, theatrical games-performances, children visiting theaters together with their parents, mini-scenes with dolls during the study of the regional component with children, involving the main puppet - Parsley - in educational solutions

activity in 1 ml. group

Encourage interest in theatrical and playful activities, encourage children to participate in this activity activities

Learn how to navigate in a group room and in the hall.

Develop skills and convey facial expressions, gestures, movements, basic emotions

You can start introducing children to the theater with 1 ml. groups

Finger games are a wonderful opportunity to play with your child. Playing with finger puppets helps the baby better control the movements of his own fingers. By playing with adults, the child masters valuable communication skills, plays out various situations with dolls that behave like people, developing the child’s imagination

In the middle group - we move on to more complex theater: We introduce children to the theater screen and riding dolls. But before the children begin to work behind the screen, they must be allowed to play with a toy.

IN senior group children should be introduced to marionettes. Marionettes are dolls that are controlled most often with the help of strings. Such dolls are set in motion with the help of a vagina. (i.e. wooden cross) Bring up steady interest in theatrical and gaming activities Lead children to create an expressive playful image in sketches.

The main tasks of organizing a theater activities in senior and preparatory groups

Expand children's understanding of the world around them

Replenish and activate the dictionary

Maintain initiative in improvisation

To consolidate children’s ideas about various types of theaters, to be able to distinguish them and name them

Improve the ability to retell coherently and expressively

According to the control method, the dolls are divided into two kind:

Horsemen are dolls that are controlled by screens: glove and cane

Floor-standing – work on the floor – in front of children

Also suitable "performers", molded from clay according to type Dymkovo toys, as well as wooden ones made like the Bogorodsk toy. Interesting dolls can be made from paper cones and boxes of varying heights.

Anyone who engages in this joyful and useful activity will be convinced of the beneficial influence of puppet theater on preschool children.

Musical education

childrensenior preschool age

in musical and theatrical activities

in accordance with the Federal State Educational Standard

For a number of years, I have been successfully working on the topic of including theatrical activities in the process of music education for older preschoolers, where every child can express their feelings, emotions, desires and views, not only in private, but also publicly, without being embarrassed by the presence of spectators. Theatrical activities in kindergarten are a good opportunity to reveal the creative potential of a child, nurture the creative orientation of the individual, and in combination with music this process becomes a hundred times more interesting and effective.

Common features of musical and theatrical activities are means of expression: intonational expressiveness and features of the development of the artistic image. Each of them has its own specific means of expression, which, when interconnected, make musical activity exciting, vibrant, and expand opportunities for creative expression.

Music education in kindergarten is

introduction to the world of beauty;

development of musical abilities;

mastering the ABCs of musical culture;

education of emotional sensitivity;

promoting children's health;

disclosure of individual creative abilities.

But until recently, music education was predominantly reproductive in nature, and the inclusion of theatrical elements in musical activities was limited only to teaching children basic expressive skills and the formation of specific performance skills. Theatrical activities will lead to improving the quality of music education for preschool children.

Issues of organization and methodology for teaching children's theatrical activities are reflected in the works of T.N. Doronova, A.P. Ershova, V.I. Loginova, L Yu.I. Rubina, N.F. Sorokina and others. These studies show that the musical component of theater classes expands the developmental and educational capabilities of the theater, enhances the effect of emotional impact on both the mood and worldview of the child, since a coded musical language of thoughts and feelings is added to the theatrical language of facial expressions and gestures. In this case, the number and volume of sensory-perceptual analyzers (visual, auditory, motor) increases in children.

All these provisions helped formulate the purpose and objectives of the work.

Goal: To improve the quality of music education in musical and theatrical activities of children of senior preschool age.

1. Develop the ability to holistically perceive a work of art (music, poetry, theatrical performance)

2. Promote the development of musical thinking (reproductive and creative)

3. Develop creative independence in conveying an image, expressiveness of speech and pantomime actions to music.

4. Develop the ability to feel a partner, to play in a group of peers.

Presenter pedagogical idea in the context of the Federal State Educational Standard is to raise the quality of music education to a new level through optimizing interaction in the “Teacher-Child” system.

Figure 1 presents a model of the system of music education for children of senior preschool age in musical and theatrical activities, it reflects the methods of implementation, forms of organization, methods and techniques.

Musical and theatrical activities are a synthetic form of working with children in musical and artistic education. It includes:

Perception of music;

Song and game creativity;

Plastic intonation;

Instrumental music playing;

Artistic word;

Theatrical games;

Stage action with a single artistic concept.

To a large extent, music education is facilitated by forms of organizing musical activities, each of which has its own capabilities.

According to the provisions of the Federal State Educational Standard, children's activities are carried out in the following blocks:

1. A block of organized (regulated) musical activities: musical classes and entertainment, holidays and other activities using music.

2. A block of unregulated (joint with the teacher and independent) musical activity of children in a group outside of class (in warm weather - on fresh air).

3. Independent musical activity of children outside of class (occurs on the initiative of children, is represented by songs, musical games, exercises, dances, as well as song, musical-rhythmic, instrumental children's creativity).

The main areas of work with children on music education in musical and theatrical activities are:

Diction exercises (articulation gymnastics);

Tasks for the development of speech intonation expressiveness;

Transformation games, imaginative exercises;

Exercises for the development of children's plasticity;

Rhythmic minutes;

Finger play training;

Exercises to develop expressive facial expressions, elements of pantomime;

Theater sketches;

Acting out mini-dialogues, nursery rhymes, songs, poems;

Watching puppet shows.

Staging the play.

To carry out this work, didactic material (manuals, attributes, costume elements, audio recordings) is thought out in advance to stimulate children’s interest in expressing creativity in musical and theatrical activities. Preparation work is carried out jointly with group teachers and with the involvement of parents. The imagination and creativity of all participants in the process are manifested in the production of scenery. An important direction in organizing theatrical activities is working with parents, who are involved in creative interaction with children in various directions.

Parents participate in creating the scenery for children's plays, make costumes together with the children, and help in memorizing the texts of the roles. In such joint work, parents themselves master pedagogical skills.

To implement these areas, the following are used:

conversations with parents;

consultations for parents:

“Development of creative abilities of preschool children through theatrical activities”;

“Hello, theater!”;

"Theater at Home";

"Theater for Kids";

To achieve the goals of developing children’s creative abilities through theatrical activities in the music education system of preschool educational institutions, it is necessary to create pedagogical conditions:

Application of the principles of developing the creative abilities of older preschoolers: humane interaction, co-creation, learning in action, improvisation;

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, a variety of costumes and attributes,

Literature

1. E.P. Kostina “Tuning Fork”.

2. A.I.Burenina “Rhythmic mosaic”.

3. O.P. Radynova “Musical development of children.”

4. A.E. Antipina “Theatrical performance in kindergarten.”

5. E.G.Churilova “Methodology and organization of theatrical activities for preschoolers and junior schoolchildren.”