USE OF THEATRALIZATION IN THE PRACTICAL ACTIVITIES OF A MUSICAL DIRECTOR JOINTLY WITH A TEACHER IN A PRESCHOOL EDUCATIONAL INSTITUTION

MAGAZINE Preschooler.RF

Daniya Zulkaramovna Galimova, Music Director of MBDOU – combined kindergarten No. 8.

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

Most educational programs provide a combination of various types of musical activities, including theatrical performances. It has a great influence on the development of a child’s creative abilities, fantasy, imagination, intelligence, artistry, communicative relationships are formed, and a friendly attitude towards each other is cultivated.

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

Theatrical games help create a joyful, relaxed atmosphere.

Dramatization games occupy a special place. Here the child plays himself, using his own means of expression - intonation, facial expressions, pantomime.

We begin introducing theatrical games in music classes from the first junior group. Some character always comes to visit the kids: a cat, a dog, a cockerel, etc. We make sure to greet him and come up with a name for him. Learning onomatopoeia with different intonations. We play out all the songs and chants with dolls and other toys.

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

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

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

Let's consider innovative forms and methods in various types of musical activities.

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

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

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

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

Singing. Chanting.

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

Such playful chanting is multifunctional:

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

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

Working on texts with gesture drawings also helps to activate abstract and figurative-associative thinking. Finger games are original and interesting because they represent a miniature theater where the actors are fingers.

Finger games:

• develop the muscular system, fine motor skills, tactile sensitivity;
• “anticipate” consciousness, its reactivity (due to the rapidity of changes in movements);
• increase the overall level of organization of the child;
• aimed at developing a sense of rhythm, diction motor skills, expressive speech intonation, and coordination of movements.

We begin work on finger games from a very early preschool age, using texts that are short in length and simple in content and accessible to children.

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

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

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

In our work we use non-traditional forms of developing musicality. These are rhythmic declamation and melodeclamation.

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

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

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

Rhythmic declamation is a speech game that involves creative freedom in the intonation and rhythmic execution of the text. Depending on the goals and objectives set, almost any model can be “developed” to the level of a “theatrical production” , in which recitation, dance, singing, playing instruments, pantomime, improvisation, etc. can be combined in a variety of ratios, and can also be supplemented artistically - visual activities. Such forms are born gradually, sometimes unexpectedly, in the process of working on a model; children really like them and help them express themselves in a new situation, take a different look at already known things, enrich children’s artistic impressions, and contribute to the development of imagination and the ability to improvise.

The use of these technologies and methodological forms in practice allows us to achieve the main goal: creating an atmosphere of joyful communication, high spirits and a harmonious sense of self at music classes and holidays.

Thus, theatrical games in music classes make it possible to solve many pedagogical problems related to the formation of the expressiveness of a child’s speech, intellectual and artistic-aesthetic education.

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

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

Bibliography:

1. E.A. Antipova Theatrical activities in kindergarten: Games, exercises, scenarios. 2nd ed., revised. – M.: TC Sfera, 2009;
2. O.A. Arsenevskaya System of musical and recreational work in kindergarten: classes, games, exercises. – Volgograd: Teacher, 2011.
3. T.A. Borovik “Methods for developing children’s musicality” ; magazine “Musical Director No. 1-6 2004”
4. A.A. Evtodieva Learning to sing and dance while playing: a methodological and practical guide to teaching singing and movements in a playful way. – Kaluga, 2007.
5. O.V. Katser Game method of teaching children to sing: Textbook. Benefit. – 2nd ed., add. – St. Petersburg: Publishing house “Musical palette” , 2008.

Annex 1

Finger fairy tale "Mitten"

(author O. Arsenevskaya)

From behind the forest, from behind the mountains, children slap their palms as Grandfather Egor stomps. On the knees. He was in a hurry to get home - They show the other side of the mitten and dropped it. palms with the thumb extended upward - the “Mitten” .

The mouse ran across the field, “Running” with the fingers of one hand on the other hand. I saw the mitten. Gesture "Mitten" . - Who, who lives here? They knock with their right fist on their left palm. Is no one waiting for the mouse here? They wag their fingers.

She began to live and live, to sing songs loudly. Claps. A bunny ran across the field, Gesture “Bunny” . I saw the mitten. Gesture "Mitten" .

- Who, who lives here? They knock with their right fist on their left palm. Does he sing a song loudly? Claps. The mouse invited the bunny, calling him, gesturing with his right hand. She gave me some sweet tea. Stretch your arms forward, cup your palms.

The bunny jumped, the bunny hopped, baked some delicious pies. “Bake” pies. Like a fox walking across a field, soft movements with her hands. I saw a mitten. Gesture "Mitten" .

- Who, who lives here? They knock with their right fist on their left palm. Does he sing a song loudly? Claps. And the fox was invited, Soft movements of the hands. They treated us to pies. “Bake” pies.

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

- Who, who lives here? They knock with their right fist on their left palm. Does he sing a song loudly? Claps. The animals got scared, squeeze your fingers into a “lock” . They ran away in fear. Spread your arms to the sides.

Appendix 2:

Speech games with musical instruments

(author O. Arsenevskaya)

Matryoshka and Parsley.

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

We played on spoons. Knock-knock! Knock knock! Our spoons began to dance. Knock-knock! Knock-Knock!

Here comes our friend, Petrushka, Tren-tren. He brought rattles for the guys, rattle, rattle.

The rattles rang - Ring-tink-tink! Stretch, grind, grind! They sang a loud song - Tren-di, tren-di, tren-di-tren!

Knock-knock, knock-knock, Knock-knock-knock-di-knock! It will be fun to play with our orchestra all day long!

Shur-shur-song In the silence the rustling little creatures rustle: Shur-shur, shur-shur, shur-shur. They look like little mice.

Shur-shur, shur-shur, shur-shur. Children play on “rustles” - plumes with paper or plastic strips. And somewhere a purring cat is sleeping. Mur-mur, pur-pur, pur-mur. In his sleep he sings a song:

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

Merry orchestra. "Boom Boom! Tram-there-there!” — The drum began to beat. “Too-too-too!” —

The spoons began to play. “Beads, rosaries ,” the rattles are rattling. “Ding-dong, ding-dong!” —

The metallophone rang. “Ban-ban balalal!” - The triangle sounded! “Bumba-boomba!” —

The rumba thundered! And now we need everyone to play together.

Musical and theatrical activities in a preschool educational organization

Kolomyyko Oksana

Musical and theatrical activities in a preschool educational organization

Preschool age is the period of laying the foundation on which the entire future life of a person will be based. Moral, artistic and aesthetic education is an important component on which a person’s life platform will be built. One of the means that helps to implement this direction is musical and theatrical activities .

Musical and theatrical activities in kindergarten are an organized pedagogical process aimed at developing musical , theatrical and playing abilities, emotionality, empathy, cognition, that is, at developing the child’s personality. This is a good opportunity to reveal a child’s creative potential and nurture a creative personality. Children learn to notice interesting ideas in the world around them, embody them, create their own artistic image of a character , they develop creative imagination , associative thinking, speech, and the ability to see unusual moments in the ordinary. Theatrical activities help the child overcome timidity, self-doubt, and shyness. It is musical and theatrical activities , instilling a sustainable interest in music , theater, literature, that improve children’s artistic skills in terms of experiencing and embodying an image , and encourage them to create new images .

Musical and theatrical activities for children include several sections:

- basics of puppeteering;

- acting skills;

- gaming creativity; - imitation on musical instruments ;

- children's song and dance creativity;

— holding holidays and entertainment.

Musical and theatrical activities include the following points of musical development :

- dramatization of songs; - entertainment;

— folklore holidays;

- fairy tales, musicals, theatrical performances.

Thus , musical and theatrical activities help the child to develop comprehensively.

At an early age, theatrical activities are a sustainable hobby for almost all children, captivating the child into the fabulous world of art; it noticeably becomes a source of creative development for the child himself.

Our work is based on the following principles:

— developmental education – cognitive, educational activities aimed at encouraging children to independently search and improvise;

— consistency and systematicity of classes is the key to successful application of knowledge, skills and abilities in practice;

— accessibility – taking into account age characteristics, level of preparedness of children;

- individual - differentiated approach not only during each lesson, but also to each participant in musical and theatrical activities ;

— taking into account the interests, needs and capabilities of each child;

- focus.

Theatricalization is a method, a technique, which is based on the use of certain expressive means characteristic of the theater to create a unique, bright artistic image . The main task of the teacher’s work:

- revealing the creative personality of the child as a whole;

- his artistic abilities in particular.

Theatrical activities allow solving many pedagogical problems related to:

- formation of expressiveness of speech;

- intellectual, artistic and aesthetic education.

Theatrical activity is aimed at perception, comprehension of an artistic image and transmission of this image . It acts as valuable in its own right, on a par with gaming, musical and visual arts . And like any other, it has its stages:

— orientation;

— plan;

- Preparation;

- execution.

In our group, a musical developmental subject environment was created:

— musical toys and instruments;

— dolls and attributes that are necessary for performing theatrical activities . The educational possibilities of theatrical activities are enormous , its topics are not limited and can satisfy any interests and desires of the child.

By participating in it, children get acquainted with the world around them in all its diversity . Skillfully posed questions by the teacher encourage thinking, analysis, drawing conclusions and generalizations. When children gain experience, theatrical games act as one of the types of creative games. They make it possible to reproduce a literary work you like using words, facial expressions, and gestures to convey various images . All this enriches vocabulary, develops memory, and the ability to act according to plan. For more than three years, starting from a young age, I have been working in theatrical activities .

In the younger group, we staged small plays, dramatizations, and fairy tales that were shown to parents with the help of a teacher-presenter: “Turnip”

,
"Chicken Ryaba"
.

In the middle group, the same role-playing fairy tales, as well as the “Teremok”

,
“Three Bears”
was shown to their parents by the children.
At an older age, they staged fairy tales such as “Bull and Tar Barrel”
,
“Geese and Swans”
,
“The Bast and Ice Hut”
.
Dramatized fairy tales were acted out, the children themselves composed fairy tales and sketched them, and I also introduced children to theatrical play. Preschoolers are happy to get involved in the game, participating in theatrical games.
Theatrical play, as one of its types, is an effective means of socializing a preschooler in the process of his understanding of the moral implications of a literary or folklore work. Features of the theatrical play:

— Actions of children with puppet characters;

- Direct actions of children in roles;

— Literary activity through dialogues and monologues;

- They perform familiar songs on behalf of the characters, dramatizing them, dancing, etc.

In the process of theatrical games, integrated education of children occurs, they learn expressive reading, plastic movement, singing, and playing musical instruments . I create a creative atmosphere that helps each child to open up as an individual, to use their 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. Theatrical performances and playing musical works occupy an important place in the holistic musical education of a child . Theatrical games always delight children and are a success with them. 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. In this case, the number and volume of sensory-perceptual analyzers (visual, auditory, motor)

.

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 , modal sense, musical-auditory perception , 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 development 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. Musical fairy tales are a great favorite among children. With great pleasure, children transform into this or that character,

They are worried about the events that are happening, they are ready to help, fight evil and win.

A fairy tale is a magical world of images , colors, and sounds. This is creativity, improvisation, requiring effort and imagination from children. The plot of the musical fairy tale includes classical and folk music . You can also use modern music accessible to children. Poetic text is remembered by children better than prose text, so many fairy tales have been translated into poetic rhythm, this makes it easier to work on the text. Children enjoy participating in various types of theatrical activities. Staging a musical fairy tale is the key that opens the door to a magical world. After all, theater is a game, a miracle, magic, a fairy tale!

The role of music in theatrical performance in preschool children

The role of music in theatrical performance in preschool children

Music is one of the brightest means of aesthetic education. It solves many problems in a child’s educational process: it corrects character, fosters concentration and instills a sense of beauty. The role of music is enormous in the moral education of children. It helps you express your emotions brightly, express your love for your home, nature, and loved ones. Musical education shapes a person’s spiritual needs, his moral ideas, intelligence, develops ideological and emotional perception and aesthetic assessment of life phenomena. It develops the ability to perceive music through various forms of musical activity, the purpose of which is to develop a person’s musical abilities, cultivate emotional responsiveness to music, understand and deeply experience its content, i.e., the formation of a person’s musical culture. Domestic psychologists and teachers consider creativity as the intrinsic value of a child and his personal quality, as a natural activity and necessary for the development of the abilities of every preschooler (L. A. Wenger, N. A. Vetlugina, L. S. Vygotsky, A. V. Zaporozhets, D. B. Kabalevsky, B. M. Teplov, etc.). The relevance of this topic comes from the fact that at the present stage, comprehensively developed individuals are needed, and for this it is necessary to create conditions for the development of each individual, his interests, abilities and, of course, creative self-expression in each type of activity. Theater can give a child all this. The inclusion of a child in children's theatrical activities creates enormous opportunities for the development of his creativity, namely:  provides integrity and depth of impact due to the syncretic nature of this phenomenon, including rhythmic, musical, verbal influences, as well as the influence of the playing space, enhanced by the effect of group activity;  allows you to create a situation of improvisational action, which gives children a high degree of freedom of expression;  ensures that the situation is non-judgmental, which allows each child to more fully and adequately express their own feelings, without fear of evaluation and comparison;  provides a high level of involvement in the ongoing action;  creates a situation of forced success, promotes creative self-expression, allowing everyone to feel themselves as a successful subject of activity;  creates an atmosphere of collective aesthetic experience, which is a significant factor of success, providing a favorable emotional background.

In kindergartens, dramatization games are not given due attention; this type of game is very often passed over without understanding its importance. Theatrical performances and playing of 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, emancipation, and allows the child to be freed from unnecessary shyness and complexes.

By its nature, theatrical art is closest to children's role-playing play, which develops as the basis for the relatively independent functioning of the children's community and by the age of 5 takes the position of leading children's activity. 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 play 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.

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. In this case, the number and volume of visual, auditory, and motor analyzers 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.

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.

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

Fairy tales serve as the first lesson of morality and ethics for children. In them, good always triumphs over evil. This sets the child up for an optimistic perception of life, develops positive character traits and social behavior skills. Work on the theatricalization of a fairy tale contributes to the development and correction of all mental cognitive processes. Theatricalization of fairy tales requires a large amount of preliminary work. Musical, visual, and constructive activities are the components of theatrical games. At each stage, the tasks for theatrical activities become more complex; children stage more complex works as they develop. According to S. N. Tomchikova, the theatrical activity of preschoolers is a specific type of artistic and creative activity, during which its participants master the available means of performing arts, and, according to the chosen role, participate in the preparation and performance of various types of theatrical performances, and become familiar with theatrical culture. Theatricalization is an important core in the work of a music director; elements of theatricalization are used in classes, entertainment, and holidays, starting with the younger group. 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. Educators are always involved in theatrical performances, who gladly take on the roles of fairy tale heroes. Parents are involved in the preparation of performances, thereby bringing families closer to the lives of children in kindergarten. Joint activities between adults and children create mutual interest in theatrical activities.

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. With kids, I pay a lot of attention to the reflection of fairy-tale images of animals, the nature of movement and intonation are analyzed: a large and small bird is flying, happy and sad hares, snowflakes are spinning and falling to the ground. Psychogymnastics exercises are used: it’s raining, the wind is blowing, the sun is shining, there’s a cloud. Children are offered toys, attributes for acting, animal emblems for acting out “Turnip”, “Pockmarked Hen”, the music director tries to get the children to convey the mood, change their facial expressions, individual work is carried out with children, children are encouraged to participate in performances, and the desire to play a role. Children learn to correctly name theatrical equipment, treat it with care, navigate the space of the hall, and follow the development of the action. The music director uses musical and theatrical games in working with children, based on the statement of the Russian psychologist L. S. Vygotsky: “We should not forget that the basic law of children’s creativity is that they create, create, exercise their creative imagination and its incarnation." When doing theater with children, it is necessary to set a goal - to make the life of the students interesting and meaningful, to fill it with vivid impressions, interesting activities, and the joy of creativity. Strive to ensure that children can use the skills acquired in theatrical games in everyday life.

Thus, we can say that musical theater, in comparison with other forms of art, has a special power of influence on the viewer, including the youngest. It is known that musical and theatrical activities can be considered as a simulation of people’s life experiences, as a powerful psychotraining that develops its participants holistically, namely emotionally, intellectually, spiritually and physically. As mentioned above, it is in the conditions of the game that the ability to interact with people, find a way out in various situations, and the ability to make choices is trained. However, the musical and pedagogical value of theatricalization will manifest itself under certain conditions, when the goal of organizing a children's theater is not to show a performance (or work for prestige), but rather to educate children, develop their moral, strong-willed, and creative personality traits.

Theatrical performance in music classes

Natalia Romanova

Theatrical performance in music classes

Theatrical performance in music classes

Prepared by:

Musical director

Romanova Natalya Ivanovna

S. Georgievka - 2016

Today, when the problem of preschool education and upbringing is being widely and fundamentally solved, and the tasks facing teachers of preschool educational institutions are becoming more complex, the task of introducing children to theatrical activities from a very early age remains very important. And it, as a universal means of education and an effective teaching tool, is by no means an innovation and has been used in pedagogy for a long time. Just remember the brilliant Czech, Jan Amos Kamensky, who taught children ancient languages ​​based on dramatization of texts. But, despite the well-known “run-in”

,
theatrical activity remains not fully disclosed today. And far from all the possibilities of this universal activity have been exhausted. Moreover, pedagogy, both in theory and in practice, has not fully understood the approaches to organizing theatrical activities in kindergarten. However, despite many problems, theatrical performance remains , perhaps, the most popular, exciting activity; not a single teacher or music director of a kindergarten can imagine their work without it.
So, what is so valuable hidden in this amazing, magical and so familiar theatrical activity ?

From the point of view of pedagogical attractiveness, we can talk about the universality, playful nature and social orientation of the theater . Unfortunately, theatricalization turns into preparing a well-rehearsed performance with children. But here the question arises: is this theater ? And who needs it - children or adults who manipulate preschoolers like dolls - puppets? Is it possible to work differently?

The art of developing children's imagination, fantasy, and creative abilities - pedagogical art - also relies on certain methods and techniques, on logical models for constructing play interaction. The educational and educational possibilities of theatrical activities are very wide. Children who take an active part in theatrical activities get acquainted with the world around them in all its diversity through images, colors, sounds and skillfully posed questions, forcing them to think, analyze, draw conclusions and generalizations. Improvement of speech is also closely related to mental development. In the process of working on the expressiveness of the characters' remarks, the child's vocabulary is activated, the sound culture of his speech and its intonation structure are improved. The child's dialogical speech improves. Theatrical activities are a source of development of feelings, deep experiences and discoveries of the child, introducing him to spiritual values. Theatrical activities develop the child’s emotional sphere, teach them to sympathize with the characters and empathize with the events being played out.

Thus, theatrical activities are the most important means of developing empathy in children, that is, the ability to recognize a person’s emotional state by facial expressions, gestures, intonation, and the ability to put oneself in his place in various situations. “In order to have fun with someone else’s joy and sympathize with someone else’s grief, you need to be able to, with the help of your imagination, transfer yourself to the position of another person, mentally stand in his place,” argued B. M. Teplov [5, p. 41].

Theatrical activities allow you to develop the experience of social behavioral skills due to the fact that every literary work or fairy tale for children always has a moral orientation (friendship, kindness, honesty, courage)

.
Thanks to a fairy tale, a child learns about the world not only with his mind, but also with his heart. And he not only knows, but also expresses his own attitude towards good and evil. Favorite heroes become role models. Theatrical activities allow a child to overcome timidity, self-doubt, and shyness.
Thus, theater classes help to develop the child comprehensively. Therefore, it is no coincidence that modern requirements for the content and methods of work in preschool educational institutions contain a special section: “Child development in theatrical activities ”

, the criteria of which emphasize that
the music director is obliged to :
create conditions for the development of children’s creative activity in theatrical activities (encourage performing creativity;

develop the ability to behave freely and relaxed when performing, to encourage improvisation through facial expressions, expressive movements and intonations, etc.;

introduce children to theatrical culture (introduce them to the structure of the theater , theatrical genres , and various types of puppet theaters );

ensure the interrelation of theatrical play with other types of activities in a single pedagogical process;

create conditions for joint theatrical activities between children and adults.

To fulfill these criteria, it is necessary to create certain conditions in the kindergarten and appropriate organization of the work of the entire teaching staff. I am dealing with the issue of organizing theatrical activities in our kindergarten. Based on the methodology of leading specialists in this field, such as E. G. Churilova, M. D. Makhaneva, A. I. Burenin, T. I. Petrova and others, I do not limit myself to screenwriting, directing and staging work with children. And throughout the life of the kindergarten, through all types of activities, I carry out the solution of problems aimed at developing creativity in children. I organize consultations and conversations for parents of children and kindergarten teachers.

In music classes, children learn to hear different emotional states in music and convey them through movements, gestures, and facial expressions. Children listen music for a specific performance, noting its varied content, engage in rhythmoplasty exercises, learn games to develop breathing, the vocal apparatus, articulation, etc.

In art classes

All play activities of children in their free time from classes under the guidance of a teacher and in independent activities acquire special content.

Children play " theater "

Through
theatrical games , exercises, and sketches, conditions are created for an individual approach to unlocking the creative potential of each child.
Classes are based on developmental techniques; they represent a system of creative games and sketches. New knowledge is presented in the form of problem situations that require joint active searches from children and adults. The course of classes is characterized by emotional intensity and the desire to achieve a productive result through collective creativity. Classes are conducted in an entertaining, interesting way for children, based, if possible, on a plot structure. Theater classes are based on such types of children's activities as

— theatrical play;

— rhythmoplasty;

— culture and technique of speech;

The result of the classes are musical and theatrical performances in the form of performances, theatrical scenes for musical entertainment , games - dramatizations. Joint creative activity involves even insufficiently active children in the production process, helping them overcome shyness and inhibition. During the work, the following necessary rules must be observed:

do not overload children;

do not impose your opinion;

do not allow some children to interfere with the actions of others.

It should also be noted that children who take an active part in the preparation of musical theater performances began to be distinguished by greater communication, a creative attitude and approach to any task, the ability to transform, use a variety of gestures, facial expressions, and convey the character and mood of musical works , their speech is clearer, more expressive, and emotionally rich.

Analyzing the work experience of leading teachers and our own, we can conclude that properly organized theater activities in kindergarten make it possible to solve many pressing pedagogical problems related to the development of the personality of each child.

List of used literature

1. Alparova, N. N. Musical and gaming material for preschoolers and primary schoolchildren / N. N. Alparova // M.: Education, 2000. – P. 1-45.

2. Antipina, E. A. Theatrical activities in kindergarten: methodological recommendations / E. A. Antipina // M.: Sfera, 2009. – P. 1-34.

3. Makhaneva, D. M. Theatrical classes in kindergarten : a manual for workers of preschool institutions / D. M. Makhaneva // M.: Sfera, 2001. – P. 1-44.

4. Petrova, T. I. Theatrical games in kindergarten: development of activities for all age groups / T. I. Petrova, E. G. Sergeeva // M.: School Press, 2000. – P. 1-60.

5. Merzlyakova, S. I. Folklore - music - theater : programs and lesson for teachers of additional education / S. I. Merzlyakova // M.: Education, 2001. - P. 37-69.

6. Churilova E. G. Methodology and organization of theatrical activities of preschoolers and junior schoolchildren / E. G. Churilova // M.: Vlados, 2001. – P. 1-74.

7. Shchetkin, A. V. Theatrical activities in kindergarten / A. V. Shchetkin // M.: Mozaika-Sintez, 2007. – P. 3-11.