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Puppet theater circle for children. The work program of the circle on theatrical activities "Puppet Theater

"I approve"

Director of the gymnasium: _____________

Order No. _____

dated "_____" ________ 20___

Puppet circle program

Educational program of the puppet theater "Smile"

designed for students 7-9 years old.

I. EXPLANATORY NOTE

Conceptual part of programs

The Smile puppet circle program is designed for implementation in primary and secondary grades of a general education school. Creating a puppet circle at school can effectively influence the educational process. Uniting the class team, expanding the cultural range of students and teachers, improving the culture of behavior - all this can be done through creative activity in this circle. Theatrical creativity acquires special significance in elementary school. It not only helps to educate, but also teaches through the game, because for children, the game at this age is the main activity, constantly developing into work (learning). Theatrical games are loved by children. Younger students are happy to join the game: they answer the questions of the dolls, fulfill their requests, transform into one or another image. The kids laugh when the characters laugh, they are sad with them, they are always ready to help them. Participating in theatrical games, children get acquainted with the world around them through images, colors, sounds. The child likes to play, especially with peers. The advantage of the puppet theater as a concert group is its mobility: it can perform at almost any venue, in the hall, in the classroom, in the kindergarten, on the club stage. The repertoire is selected taking into account the age characteristics of the students. Acquaintance with the position of the actor-creator accumulates their emotional, intellectual, moral, social, labor experience and develops it. The creation of a theatrical performance complements and accompanies all the work in order to master the terms (director, concept, author, play, script, etc.). Each child can try himself as an author, director, which allows developing the child's creativity. In an atmosphere of benevolent and patient attitude towards each other, children's sensitivity to truthful purposeful action is formed. Exercises in voice and speech also serve to train the imagination: speak slowly, loudly, quietly, quickly, in bass. Speech exercises fulfill the propaedeutic role of future work on artistic reading. The first attempts to play the heroes of fairy tales expand children's understanding of authenticity in the theater. Here the foundations are laid for understanding the “experiencing school” and the “performance school” in acting. Playing to be believed is difficult. This forms the basis for interest in learning tasks, during which the main emphasis is on games with the word, with text, subtext, with various verbal actions (reproach, order, recognize, surprise, ask, explain, call). The word is revealed as the main means of performing the stage task, as the main component of character creation. Playing different combinations of one action with different texts or one text with different actions, children learn to hear the psychological expressiveness of speech. According to the level of development, the program is specialized, as it forms and develops the knowledge, skills and abilities of children in the field of puppetry. According to the target setting, the program is educational.

Characteristics of children enrolled in the course

This additional educational program is intended for students in grades 1-5. There are no special conditions for admission to the circle. The principle of organizing the work of the circle is voluntariness. The number of participants is no more than 10 - 15 people.

3. Goals and objectives of the educational process.

Program goal: creation of conditions for the development of creative abilities by means of theatrical art; aesthetic education of participants, creating an atmosphere of joy of children's creativity and cooperation.

Educational objectives of the program :

Studying and mastering theatrical work with a puppet; - the formation of theatrical speech skills, artistic skills in the manufacture of puppets and scenery;

Educational tasks of the program: - education of respect and love for the Russian folk tale;

Education of tolerance towards each other;

Developmental tasks of the program:

Development of creative abilities, imagination, fantasy, independence of thinking of students and other participants in the educational process;

Development of communication skills of students of different age groups.

Basic didactic principles :

The principle of voluntariness; The principle of mutual learning; The principle of comfort; The principle of communication;

4. Duration of the program development

The program is designed for 2 years, classes are held 2 times a week for 40 minutes.

5. Forms of conducting classes

Any activity must be motivated. To form positive motivation and create an atmosphere of creativity and passion, the following are used:

v word games;

v finger exercises;

v role-playing games;

v motor exercises;

Classes include the use of both individual and group forms of education.

6. Forms of summarizing the results of the implementation of the educational program

and evaluation criteria.

One of the important elements of work under this program is tracking the results of activities within the framework of the educational program. Methods and methods for determining the effectiveness of educational and upbringing processes are different and are aimed at determining the degree of development of creative abilities and the formation of basic skills determined by the requirements of this program.

In the course of the activities of the circle, it is proposed to carry out the following types of control of knowledge, skills and abilities:

Conversations to identify the attitude of children to classes in the circle, the degree of mastery of certain knowledge, skills, skills, removing the complex of non-communicativeness;

Providing the opportunity for the manifestation of the child in various roles: director, artist, screenwriter, puppeteer;

Participation in school, district competitions for additional education;

Presentation to parents and students.

7. Expected result:

In the course of the work of the circle, students develop the skill of working with a doll, acquire the necessary baggage of knowledge, skills and abilities. As a result of practical exercises, children develop the need to competently build their speech, use the techniques of expressiveness and emotionality.

The formation of a respectful attitude to the works of oral folk art contributes to the cognitive activity of students. In the course of communication, children accumulate rich social experience, master the skills of a tolerant attitude towards each other.

The creative abilities of students develop through aesthetic and theatrical education. There is a discovery of a fascinating world of transformations, fabulous "revivals", the limitlessness of plastic forms of puppet performances. The result is a search for incredible combinations of materials, inventing fantastic plots, unexpected characters.

An important role is played by the development of the communicative qualities of the student's personality in the process of creative, positive communication.

Children need to know the terms

v performing activities;

v premiere;

v performance;

v actors;

v dress rehearsal

Children should be able to:

v correctly hold the doll;

v move behind the screen;

v follow the rules for working on the screen;

v to analyze your game and the game of other circle members.

II. Educational and thematic plan

section	Title of sections and topics.	Total number of hours	Number of hours per theory	Qty hours on practice
	First year of study
	Acquaintance with the circles
	Introductory lesson. Conversation "The Art of Puppet Theatre"

	Acquaintance with the rules of behavior in the circle, the choice of an asset.
	Acquaintance with the work plan of the circle
	Acquaintance with types of dolls. Features of working with puppets.

	Mastering the skills of puppetry on the material of the simplest etudes.
	Thematic sketches for the development of fantasy, creative attention.
	Teaching speech techniques.	Throughout the year at every lesson
	Work on plays: “Everyone is supposed to know the rules of the road”, “Adventures at the New Year tree”. Reading of the play and distribution of roles; ü Discussion of the theme of the play; ü Etudes with puppets based on the material of the play; ü Mounting rehearsals and runs; ü General rehearsal.
	Repair and maintenance of dolls, preparation of material for the design of the screen.

	Second year of study
	Search for expressive possibilities of dolls in the given circumstances.
	Selection and work on works Expressive reading of the work by the teacher, conversation.
	Distribution of roles. Reading the work by students
	Practicing reading each role (at the table).
	Rehearsals of the performance in pieces and in full.
	Intonation. Mood, character.
	Learning to connect the action of the puppet with the words of the role
	Training to work on the screen.
	Stage movement lessons

	Creation of sketches and decorations.
	Creation of scenery and props for the play.
	Assembly rehearsals.
	Musical arrangement of the play.
	General rehearsals.
	Demonstration of achievements. Performances.
	Reflection of the audience - adjustments, changes in the performance. Future plans.

Total: 68 hours (1 year)

I.Puppet theater, its possibilities and features.

Introductory lesson: presentation of the activities of the circle; acquaintance with the activities of the association "Ulybka";

Theoretical lessons: the history of the puppet theater; types of dolls - time travel; the role of dolls in the organization of leisure for children, as well as adults.

Practical lessons: glove puppet, the use of a glove puppet in a performance; practicing the skill of using a glove puppet; making a glove puppet from waste material.

Speech Techniques: the beginning of all classes begins with speech gymnastics; development of the articulatory apparatus by means of using a syllabary table; learning sayings, tongue twisters, tongue twisters; drawing faces with facial expressions during the performance of the role; vocal cord training reading the text behind the screen.

II.Selection of plays and rehearsal activities.

Introductory lesson: features of the selection of text for productions (volume, readability, the presence of puppets, the correspondence of character and speech);

Theoretical lessons: analysis of prepared materials; rules and features of selection;

Practical lessons: work in the library; selection of plays, reading and working out the material; distribution and selection of roles; preparation of scenery, assembly rehearsals, run-throughs; repair and maintenance of dolls; screen design; performances; selection of musical accompaniment for the performance.

III. Analysis of work and long-term plans.

Introductory lesson: a conversation about successful productions, their analysis and suggestions from the circle participants; errors during productions, their analysis;

Theoretical lessons: analysis of productions takes place after each performance; identification of strengths and weaknesses of the work;

Practical lessons: preparation and publication of the newspaper "Our achievements" with the analysis and opinions of participants, viewers and parents; compiling a table of gaps in preparation for the performance.

With a creative approach to classes, theatrical creativity, including puppet classes, not only activates the interest of schoolchildren in the art of theater and art in general, in its various types, but also develops imagination, memory, attention and other qualities, educates and improves the psychological atmosphere in class, group. Preparing a performance is a lengthy process, but a very important one. Its preparation includes the selection of works - Russian folk tales, the design of the performance, starting with the installation and design of puppets, scenery. Creating a psychologically comfortable atmosphere for classes is necessary. During this period, children learn to communicate with each other, share their thoughts, skills, knowledge.

IV. Methodological support of additional educational program:

Methodological support:

The concept of a personality-oriented educational system. Circle work plan.

Planned forms and titles of classes.

No. p / p	Forms of classes	Name

		Types of theaters: - picture theater, - toy theater, - “Magic Fingers”, - shadow theater,
		From the history of the puppet theater.
		Acquaintance with theatrical vocabulary.
		The role of the screen in the production of the play.
	Master Class	Selection and work on the works of the play.
	Master Class	Distribution of roles
		"Patter".
		"Words", "Compositor", "Charades", "Magic Transformations", "Rhyming Games".
		"Who? Where was? What did you do? Whom did you meet?
		"My screen is better."
		You are the director and I am the director.
	Excursion to the library	Selection of a play for the play.
		"The best addition to the play."
		"It's fun to walk together."
	Newspaper release	"That's the kind of puppeteers we are."
	Newspaper release	"Our achievements".
	Articulation exercises based on the vowel table		at every lesson
	finger exercises	Clenching-unclenching the fists, sipping, relaxing, flexion-extension, exercises for the fingertips, exercises for the wrist, sipping, drawing up various figures from the fingers.	at every lesson
	Role-playing games	"Screenwriter, artist, artist"
	Motor exercises	Warm-up, exercise. Eye charger. Exercises to practice and maintain correct posture.

Material support:

A room for classes; 2 screens (rehearsal and premiere); A set of necessary puppets for performances; Stationery for the design of the performance; A set of fabric for repairing and making dolls;

V. List of literature for the teacher.

, "Finger gymnastics", AST Astrel, Moscow, 2007

M. Besova, "Let's play!", Development Academy, Yaroslavl, 2007

N. Alekseevskaya, "Home Theatre", "List", Moscow, 2000

, "Counting, teasers, mirilki", "Soyuz", St. Petersburg, 2000

Magazines: "Head teacher of elementary school".

"Puppet and Toy Theater in Preschool", Volgograd, 2008

Literature for children:

Magazines: "Misha", "Anthill", "Murzilka", "Do It Yourself".

Tongue twisters used in stage speech classes

Our Julia was bought a spinning top,
Julia played with Yula on the floor.

Six mice rustle in the reeds.

Baran Buyan climbed into the weeds.

Our Polkan fell into a trap.

Beavers are kind to beavers.

Arkhip shouted, Arkhip hoarse.

No need for Arkhip to scream to the point of hoarseness.

Near the bell.

Ate Slava fat,
Yes, there was not enough fat.

Sasha walked along the highway and sucked dry.

cuckoo cuckoo
I bought a hood.
Put on the cuckoo hood:
How funny he is in the hood!

little babbler
Milk chatted, chatted,
Don't blurt out.

redstart, redstart,
Redstart redstart.

sly magpie
Catch the haze.
And forty forty
Forty troubles.

Kondrat has a short jacket.

We have Vlas, and you have Afanas.

Fasten the paperclips with a cross.

Roofer Kirill crooked roof wings.

Tall Vavila merrily tossed his pitchfork.

Fofanov's sweatshirt Fefele fit.

Pharaoh's favorite for sapphire was replaced by jade.

Evil potion will not go into the ground.

In the yard - grass,
On the grass - firewood.

Watermelons were loaded from body to body.

I bought Marusya beads grandmother,
A grandmother stumbled over a goose in the market.
Granddaughter Marusya will not have a gift -
All the beads were pecked by a bead by a geese.

The bull is stupid, stupid bull.
The white bull's lip was blunt.

I won't wake Buddha
And I will disturb the Buddha.

The train rushes, grinding:
"Who-cha-shcha, cha-cha-shcha!"

Rustling with silks in a hut
Yellow dervish from Algeria
And juggling knives
The piece is eaten by figs.

From the clatter of hooves
Dust flies across the field.

The earth is ringing from the golden heat.

In our yard, the weather has become wet weather.

Bristles at the pig, scales at the pike.

There is an oblique goat with a scythe.

Olga groaned near the pool: “Oh-oh-oh!”

crested laughter
Laughed with laughter:
"Ha-ha-ha-ha-ha!"

Carl with Clara
Stole the corals
And Clara with Karl
Stole the clarinet.

The priest has a pop, and the pop priest praises.

Weavers wove fabrics for Tanya's dress.

PUPPET DICTIONARY

Proscenium - the front of the stage.

Intermission is the interval between the performances.

Batleyka is a Belarusian folk puppet show, similar in type to a nativity scene and shopka. Her repertoire, along with a story about the birth of Christ, included folk plays ("Tsar Maximilian") and short interludes ("Volsky - a Polish blacksmith", "Korchmar Berek", etc.).

Props - objects and decorations that imitate authentic ones in a stage setting.

Vaga - a special structure to which strings are attached to control the puppet. It can be horizontal (for animal puppets) and vertical.

Nativity scene (Old Slavic and Old Russian - cave) is a portable puppet theater in which religious performances are played, associated with the legend of the birth of Christ. It usually has a two-story building. Biblical stories are played on the upper one, secular ones (everyday, comedy, sometimes social ones) are played on the lower one. Nativity scene puppets move along slots in the floor of the stage.

Gapit - a cane on which the head of a cane doll is impaled. Gapit, equipped with the simplest mechanics, allows you to turn and tilt the head.
It is possible to attach threads to the gapite that control the eyes and mouth of the doll.

Ganswurst (from German - "Hans-sausage") - the hero of the German folk drama theater and puppet theater.
Appearing in the 16th century, after two centuries Ganswurst gave way to the new national hero Kasperla, who inherited some of his features.
character.

Guignol is a character in the French puppet theater. Born in Lyon at the beginning of the 19th century. The plots of the scenes in which he participated were borrowed from life
city weavers. The ever-increasing popularity of Guignol in popular circles supplanted the old Polichinel. So far French puppet shows
bear his name, and a monument was erected in Lyon to the most popular favorite.

Bed - the upper front edge (or plan) of the screen.

Dalang is a Javanese puppet theater actor. His task is only puppetry, and the text is spoken by a nearby reader.

Scenery (from Latin - decoration) - the decoration of the action on the screen or theatrical stage.

Double - a substitute doll, copying with its external
view of the main one and replacing it, if necessary, when solving special stage tasks,

Backdrop - a painted or smooth background in the background of a screen or stage.

The stage mirror is the plane of the playing space visible to the viewer. limited in the puppet theater by a screen, portals and a portal arch.

Karagyoz (from Turkish - “black eye”) is the hero of the Turkish shadow puppet theater. He was famous for his jokes and dislike for "those in power."

Koturny - in the puppet theater, small benches attached to shoes, or special shoes with thick soles. They are used when the puppeteer's height does not allow him to hold the puppet at the level of the imaginary screen floor.

Matej Kopecky (years) - Czech folk puppeteer, creator of the famous theater and its hero Kašparek, for whom he wrote more than 60 plays.
On the grave of Matej Kopecky there is a monument made of white marble, on which the actor is depicted with his doll. The famous Kasparek itself is kept in the National Museum of Prague.

Puppet - grassroots puppet, controlled by threads. It requires a special arrangement of the stage and vaga.

Mise-en-scene - a certain arrangement of scenery, objects and characters on the stage at certain moments of the performance.

Mimic doll - a doll made of soft materials with a moving facial expression. The actor's fingers are directly in the doll's head and control its mouth, eyes and nose.

Monologue - the speech of one person, thinking aloud.

(gg.) - the famous puppet actor and director, the creator of his own original puppet theater. Many of his
performances have become textbooks: "Kashtanka" (by), fairy tales "By the Pike", "Aladin's Magic Lamp", etc. And the performances of B. Shtok "The Divine Comedy", "Speaks and Shows the State Central Theater Theater ... "and" Extraordinary Concert " recognized
world classic.

Olearius is a German traveler who visited Russia and left "A detailed description of the journey of the Holstein embassy to Muscovy and Persia ..." (1647). The name of Olearius is associated with the first documentary mention of a puppet show.
in Rus', and in the book itself there is a drawing depicting a puppeteer with Petrushka, dated 1636.

A paduga is a horizontal part of the stage decoration. It is a strip of fabric suspended on a bar or cable.

Pantomime - expressive movements of the body, the transfer of feelings and thoughts by the face and the whole body.

Punch is a popular hero of the English puppet theater,
who gained fame as a hooligan and a fighter. Punch is invariably accompanied by his wife Judy. Their performances - an example of English humor and evil social satire - enjoyed great success in England and have survived to this day.

Papier-mâché is the most common way of making doll heads, which is pasting paper over a clay cast from the outside.
or plaster form from the inside.

Wig - false hair.

Parterre - seats for spectators below stage level.

Cartridge - a cardboard tube that is glued into the neck and hands of a glove puppet. It allows you to "fit" the character's hand and head to the size of the actor's fingers.

Screen apron (or apron) - a fabric curtain that covers the screen structure from the viewer's side. Unlike the cover-up, which attaches-
Xia tightly to the frame of the screen, the apron is simply suspended. It is applied at various devices of collapsible screens.

Glove puppet - a puppet that looks like a three-fingered glove to control the puppet's head and rivers.

Petrushka is a favorite hero of buffoons, a daring daredevil and a bully, who in any situation retained a sense of humor and optimism. Like the appearance of a doll (long
nose, cap with a tassel), and the scenes that he played, almost did not change over the centuries. In puppet shows::
various characters took part with Petrushka: a gypsy, a doctor, a quarterly, a corporal, etc.
It is curious that some episodes in Petrushka's performances have something in common with puppet shows from other countries.

Pishchik - a special device that::: was used by parsley actors.

Polichinelle - the hero of the French puppet theater of the middle of the XVIII century, who came from Italy. By nature, Polichinelle is a merry fellow and a little cynic.

Lowered plan - a window or slot on the main
screen below the main bed. Used to show contrasting scenes with a live actor or surprise moments.

Portal (portal arch) - a plane that bounds the "mirror" of the scene from the sides and top in the form of a frame.

Pulcinella is a popular comic character in the Neapolitan comedy del arte. The most noticeable feature is the black mask.

Props - authentic and sham things and objects used during the performance.

Rehearsal - a repetition that precedes the performance.

Repertoire - plays that are shown in the theater at a certain period of time.

Application

Games for the development of attention and imagination for the section "We

we play - we dream!(from the program for teaching children the basics of performing arts "School Theater")

· Pictures from matches

The exercise is built like a competition for children. Pupils make pictures of matches according to their taste and explain them. In addition to the competitive element, which is important for the students themselves, it should be noted that this game perfectly develops a sense of artistic taste, imagination, and, thanks to the uniformity of the “building material”, a sense of proportion. It is best to do the exercise on the floor (carpet), as children are not bound by the size of the tables and feel more relaxed.

· I'll draw on your back...

An exercise in sensory imagination. They play in pairs. The one who draws with a finger reproduces an image on the back of the driver. The driver's task is to guess what was "painted" on his back.

It is worth giving the person who draws the task of “not wanting” the driver to guess the drawing, the behavior of both players changes dramatically: the driver concentrates their attention as much as possible, bringing it to the maximum sharpness, and the person who draws, “deceiving”, tries to bring down the intensity of the partner’s attention with deliberate relaxation. This is one of the most exciting tasks, but the teacher must carefully control the progress of its implementation, avoiding resentment and grief inherent in kids, emotional overload and fatigue. In the end, it doesn’t matter if the driver fails to determine exactly what kind of image the person drawing drew with his finger on his back - a conscious attempt to imagine this drawing and express it in words is important.

· Drawings on the fence

The teacher invites each participant to draw an imaginary drawing on the “fence” (class wall), that is, draw it with a finger. The observers must tell about what they saw, and it is necessary to ensure that the “drawing” of the participant does not “fit” on the previous one. The most valuable didactic point is the absence of the possibility of a negative assessment on the part of the group, since the conventionality of the image does not give rise to criticism and a real comparison of artistic merits. Here "everyone is a genius", which is very important in raising not only confidence in one's creative abilities and strengths, but also "collective imagination", trust in the abilities of a partner.

· circus poster

Each student, having composed his own “circus number”, draws his own poster, in which he tries to express his idea of the genre, complexity, brightness and other features of his “number” as fully as possible. The invention of pseudonyms and brief announcements to numbers is encouraged. The brighter the child imagines his number, what he does “in the arena”, the brighter his artistic fantasy works.

· Robots

Two are playing. The first is a participant who gives commands to the “robot”. The second is a "robot" performing them blindfolded. The methodological goals facing the players can be grouped into two areas:

1. The ability to set a precisely formulated task for the "robot".

2. The ability to implement a verbal order in physical action.

The teacher must make sure that the commands are given not “in general”, but are aimed at the implementation of a simple, but quite productive action, for example, to find, pick up and bring some object. Speaking about the control over the actions of the "robot" itself, it is important to emphasize that they must strictly comply with the commands. The robot must trust the commands, execute them in strict order.

Application

Exercises for developing good diction(from the program of the course "Theater" for elementary school)

[e] - [t] - alternate tapping of the fist on the palms;

[g] - [k] - clicks;

[h] - [s] - we alternately connect fingers with the thumb;

[c] - [f] - repulsive hand movements;

[g] - [w] - we climb with both hands along an imaginary rope.

Read and then voice the text. What do you think happened to his characters?

F F F F F F F F F

F F F F F F

F F F F
F…F…

F F F F F F F F F

F F F F F F F

BAM! BOOM! JING!

F F F F F F F

TOP - TOP.

F F F F F F F F F F

SLAP!!! SHMYAK.

Svetlana Pytaleva
The work program of the circle on theatrical activities "Puppet Theater"

Municipal budgetary preschool educational institution

urban district of Korolev, Moscow region "Kindergarten

combined type No. 34 "Lyubava"

I approve:

Head of MBDOU "Kindergarten No. 34"

WORKING PROGRAMM

Mug by

« PUPPET SHOW»

for the 2017-2018 academic year.

middle group

caregiver:

Pytaleva S.V.

Explanatory note

Artistic and aesthetic education occupies one of the leading places in the content of the educational process of a preschool educational institution and is its priority. For the aesthetic development of the child's personality, a variety of artistic activity - visual, musical, artistic and speech, etc. An important task of aesthetic education is the formation of aesthetic interests, needs, taste, and creative abilities in children. The richest field for the aesthetic development of children, as well as the development of their creative abilities, is theatrical activity. In this regard, in our group I lead theater Club"Fairy tale".

Classes theatrical activities aimed at developing the interests and abilities of the child; contribute to the overall development; the manifestation of curiosity, the desire for new knowledge, the assimilation of new information and new ways of action, the development of associative thinking; perseverance, determination, the manifestation of general intelligence, emotions when playing roles. In addition, lessons theatrical activities require the child to be decisive, systematic in work, industriousness, which contributes to the formation of strong-willed character traits. The child develops the ability to combine images, intuition, ingenuity and ingenuity, the ability to improvise. Classes theatrical activities and frequent performances on stage in front of the audience contribute to the realization of the creative forces and spiritual needs of the child, emancipation and self-esteem. The alternation of the functions of performer and spectator, which the child constantly assumes, helps him to demonstrate to his comrades his position, skills, knowledge, and imagination.

Exercises for the development of speech, breathing and voice improve the speech apparatus of the child. Performing game tasks in the images of animals and characters from fairy tales helps to better master one's body, to realize the plastic possibilities of movements. Theatrical games and performances allow children to immerse themselves in the world of fantasy with great interest and ease, teach them to notice and evaluate their own and other people's mistakes. Children become more liberated, sociable; they learn to clearly formulate their thoughts and express them publicly, to feel and learn more subtly the world.

Relevance.

Usage programs allows you to stimulate the ability of children to figurative and free perception the world around(people, cultural values, nature, which, developing in parallel with traditional rational perception, expands and enriches it. The child begins to feel that logic is not the only way to know the world, that something that is not always clear and usual can be beautiful. Realizing that there is no one truth for all, the child learns to respect other people's opinions, to be tolerant of different points of view, learns to transform the world, using fantasy, imagination, communication with surrounding people.

real program describes a training course for theatrical activities preschool children 4-5 years old (middle group).

Target: To develop the communicative and creative abilities of children through theatrical activities.

Tasks:

1. Create conditions for the development of creative activity of children participating in theatrical activities.

2. Improve the artistic skills of children in terms of experiencing and

embodiment of the image, as well as their performing skills.

3. To form in children the simplest figurative and expressive skills, to teach

imitate the characteristic movements of fabulous animals.

4. Teaching children the elements of artistic and figurative expressive means (intonation, facial expressions, pantomime) .

5. Activate the vocabulary of children, improve the sound culture of speech, intonation system, dialogic speech.

6. To form the experience of social behavior skills, create conditions for the development of children's creative activity.

7. Introduce children to different types theater.

8. Develop children's interest in theatrical play activities.

9. Develop a desire to speak to parents, kindergarten staff.

Syllabus

Number of classes - 1 time per week

Lesson duration - 20 minutes

Number of times a month - 4 lessons

Age of children - 4 - 5 years

Program Includes one class per week at 3:00 pm. :15 minutes. – 15h. :35min

Implementation period programs - 1 year:

Classes for this program consist of practical children's activities.

Conducted under the guidance of a teacher.

Forms and methods of teaching:

Verbal - explanation;

Visual - display;

Creative - creative approach.

Are used:

Game exercises;

Games - dramatizations;

Role-playing games.

Expected Result:

Disclosure of children's creative abilities (intonation pronunciation, emotional mood, mimic expressiveness, imitation skills).

The development of psychological processes (thinking, speech, memory, attention, imagination, cognitive processes, fantasies).

Personal qualities (friendly, partnership relationships; communication skills; love for animals).

Summing up forms:

Theatrical performances for children;

Participation in competitions for theatrical activities.

Forward planning.

September

1. Subject. We play theater.

Target: develop active attention, imagination; familiarize yourself with the rules of conduct in theater; arouse interest and desire to play ( to perform the role: "cashier", "ticketer", "spectator"); cultivate friendships.

2. Subject. We are future artists.

Target: develop active attention, speed of reactions, thinking, imagination; instill in children a strong interest in theatrical and gaming activities; establish rules of conduct with children in theater; role playing; cultivate friendships.

3. Subject. Getting to know the views theaters(shadow, flannelgraph, desktop, finger, planar theaters, bibabo puppet theater).

Target: to introduce children to different types of theaters; deepen interest in theatrical games; enrich vocabulary.

4. Subject. Rhythmoplasty.

Target: to develop in children the ability to use gestures; develop motor skills: dexterity, flexibility, mobility; learn to move evenly around the site without colliding with each other.

1. Subject. Introduction to finger theater theatrical activities.

Target: to develop interest in various theatrical activities; continue to introduce children to finger theater theatrical activities; develop fine motor skills of hands in combination with speech.

2. Subject. Reading a fairy tale "Kolobok".

Target: to teach children to listen carefully to a fairy tale; form the necessary stock of emotions; develop imagination.

3. Subject. Fairy tale dramatization "Kolobok".

Target: to teach children to understand the emotional state of the characters; develop in children the ability to use gestures; encourage children to experiment with their appearance (intonation, facial expressions, pantomime, gestures); develop a sense of self-confidence.

4. Subject. Psychogymnastics.

Target: encourage children to experiment with their appearance (facial expressions, pantomime, gestures); develop the ability to switch from one image to another; cultivate a desire to help a friend; self-control, self-esteem.

"Turnip". Work on speech(intonation, expressiveness).

Target: to introduce children to a fairy tale, to cultivate kind and humane feelings, to develop a sense of rhythm in movements, speed of reaction, coordination of movements; improve motor ability and plastic expressiveness; expand the range by virtue of the sound of the voice.

"Turnip".

Target theater, to develop speech, the ability to speak.

3. Subject. View puppet theater"Turnip"

Target: to activate cognitive interest in theater; develop an interest in stage creativity; explain expressions to children "spectator culture"; « theater starts with a hanger"; cultivate love for theater.

4. Subject. Theatrical sketches. Games are dramatizations.

Target: develop the imagination of children, teach the expression of various emotions and the reproduction of individual character traits; learn to use intonation, pronounce sad, joyful phrases; learn to build dialogues; educate endurance, patience.

5. Subject. expressive means of communication.

Target: to intensify the use of the concept in children's speech "facial expression" And "gesture". Develop the ability to work collaboratively in a team.

1. Subject. Reading a Russian folk tale "Teremok". Work on speech(intonation, expressiveness).

Target: continue to teach children to listen to fairy tales; to develop associative thinking, performing skills, by imitating the habits of animals, their movements and voice; develop a love for animals.

2. Subject. Staged r. n. With. "Teremok" (finger theater) .

Target: improve finger skills theater; develop fine motor skills of hands in combination with speech; cultivate artistic qualities.

3. Subject. Fairy sketches. Games - transformations.

Target: to develop motor ability, motor skills of different parts of the body, coordination of movement; learn to use intonation, pronounce sad, joyful phrases; learn to build dialogues; educate endurance, patience.

4. Subject. It's time to welcome the New Year! (Staging).

Target: to cultivate an emotionally positive attitude towards the holidays, to encourage each child to actively participate in the preparation and holding of the holiday.

1. Subject. Introduction to the shadow theater.

Target: continue to introduce children to different types theaters; evoke a joyful emotional mood in children; develop creative abilities.

2. Subject. Showing adults r. n. With. "Zayushkina's hut" (shadow theater) .

Target: create a positive emotional mood; stimulate interest in theatrical activities; provide a more vivid perception of the tale.

3. Subject. Getting to know the desktop theater. Mastering the skills of owning this species theatrical activities.

Target: continue to introduce children to the desktop theater; skills in this type theatrical activities; cultivate love for theater.

4. Subject. Reading a Russian folk tale "Three piglets". Work on speech(intonation, expressiveness).

Target: continue to teach children to listen to fairy tales; develop associative thinking, attention, perseverance; nurture positive relationships among children.

1. Subject. Fairy tale dramatization "Three piglets" (desktop theater- for children in their group).

Target: to teach children to enter into a role; portray the heroes of a fairy tale; cultivate artistic qualities, learn to interact with a partner in theatrical play.

2. Subject. Getting to know the view theatrical activities dolls - Bi-Ba-Bo and the development of skills for children to control these dolls.

Target: continue to introduce children to different types of theatrical activities; develop creative interest, teach children how to manage puppets - bee-ba-bo; cultivate love for theatrical activities.

"The wolf and the seven Young goats". Dialogue development.

Target: develop the ability to build dialogues between characters; develop coherent speech; build confidence; follow the expressiveness of the image.

4. Subject. Dramatization of a Russian folk tale "The wolf and the seven Young goats" (dolls bi-ba-bo; showing to children of younger groups).

Target: to create a joyful mood in children; learn to imitate the voices of animals; cultivate morality and spirituality.

1. Subject. Reading r. n. With. "The Fox and the Crane".

Target: develop attention, perseverance; stimulate children's emotional perception of fairy tales; nurture positive relationships among children.

2. Subject. Dramatization n. With. "The Fox and the Crane"

Target: cause a desire to participate in games - dramatizations; lead children to create the image of a hero, using facial expressions, gestures, movements; cultivate friendships.

3. Subject. Reading a Russian folk tale "Zayushkina's hut".

(finger theater) .

Target: introduce children to a fairy tale, cultivate kind and humane feelings, continue to teach children to listen to fairy tales; develop attention, perseverance.

4. Subject. Dramatization n. With "Zayushkina's hut".

Target: continue to participate in games - dramatizations; lead children to create the image of a hero, using facial expressions, gestures, movements; cultivate friendships.

1. Subject. Fairy tale "Teremok"

Target

2. Subject. Fairy tale play rehearsal "Teremok".

Target: to develop the expressiveness of gestures, facial expressions, voices; replenish vocabulary, develop the ability to build dialogues between characters; develop coherent speech.

3. Subject. Introduction to flannelgraph.

Target: to give an idea of work with flannelgraph and moving pictures. Develop imagination, creativity, self-confidence.

4. Subject. Reading the fairy tale by V. Suteev "Under the fungus"

Target: continue to teach children to listen to fairy tales; develop associative thinking, cultivate love for animals, cultivate the ability to listen to a work of art, evaluate the actions of characters.

1. Subject. Fairy tale rehearsal "Under the fungus".

Target: to form the skill of sequential movement of characters on a flannelograph, develop diction and skills of monologue and dialogic speech, develop imagination, creativity, self-confidence.

2. Subject. Showing a fairy tale "Under the fungus" on the flannel.

Target: to create a joyful mood in children, to educate morality and spirituality, to nurture friendly relations between children.

3. Subject. Fairy tale "Turnip in a new way". Acquaintance with the characters of the fairy tale, the distribution of roles.

Target: develop imagination, fantasy, memory in children; ability to communicate in the proposed circumstances; experience the joy of communication.

4. Subject. Fairy tale play rehearsal "Turnip in a new way".

Target: to develop the expressiveness of gestures, facial expressions, voices; replenish vocabulary, develop a sense of rhythm in movements, speed of reaction, coordination of movements; improve motor ability and plastic expressiveness; expand the range by virtue of the sound of the voice.

5. Subject. Performance based on a fairy tale "Turnip in a new way" (for parents).

Target: create a positive emotional mood; develop a sense of self-confidence; introduce children to art theater.

List of literature.

1. Antipina E. A. Theatrical activities in kindergarten. Guidelines. Games, exercises, scenarios. "TC Sphere" Moscow, 2009.

2. Antipina E. A. Theatrical performances in kindergarten. Scenarios. "TC Sphere" Moscow, 2010.

3. Varavina L. A. Visiting the riddle's grandmother. Scenarios of recreational activities in kindergarten. "ARKTI", 2008.

4. Vlasenko A.P. Puppet Theatreand toys in kindergarten: puppet shows, pop miniatures for children 3-7 years old. "Teacher", 2012.

5. Gordienko S. A. We play a fairy tale. Finger theater. "Phoenix Premier", 2015.

6. Zatsepina M. B. Organization of cultural and leisure activities of preschoolers. "Pedagogical Society of Russia", 2004.

7. Karamanenko T. N., Karamanenko Yu. G. Puppet theater - for preschoolers: Picture theater. Toy theater. Parsley Theater. "Education",1982.

8. Shorokhova OA Classes on the development of coherent speech of preschoolers and fairy tale therapy.

9. Internet resources.

Attendance card mug« PUPPET SHOW»

Group number 13.

No. F.I. of the child (months)

Present:

Absent.

MKOU Poselkovaya secondary school

The program of the circle "Puppet theater"

in primary school

Compiled by: Efremenko OV

Explanatory note.

Puppet show - one of the most favorite shows of children. It attracts children with its brightness, colorfulness, dynamics. In the puppet theater, children see familiar and close toys: a bear, a bunny, a dog, dolls, etc. - only they come to life, move, talk and become even more attractive and interesting. The unusualness of the spectacle captures children, transfers them to a completely special, fascinating world, where everything is unusually everything is possible.

Puppet theater gives children pleasure and brings a lot of joy. However, the puppet show cannot be considered as entertainment: its educational value is much broader. Primary school age is a period when tastes, interests, a certain attitude to the environment begin to form in a child, therefore it is very important for children of this age to set an example of friendship, righteousness, responsiveness, resourcefulness, courage, etc.

For the implementation of these goals, the puppet theater has great potential. The puppet theater affects the audience with a whole range of means: artistic images - characters, design and music - all this is taken together due to the figurative - concrete thinking of a younger student helps the child to understand the content of a literary work easier, brighter and more correctly, affects the development of his artistic taste. Younger students are very impressionable and quickly give in to emotional influence. They are actively involved in the action, answer the questions asked by the dolls, willingly carry out their instructions, give them advice, and warn them of danger. An emotionally experienced performance helps to determine the relationship of children to the characters and their actions, causes a desire to imitate the positive characters and be different from the negative ones. What they see in the theater expands the horizons of children and remains in their memory for a long time: they share their impressions with their comrades, talk about

performance for parents. Such conversations and stories contribute to the development of speech and the ability to express their feelings.

Children convey various episodes of the performance in drawings, sculpt figures of individual characters and entire scenes.

But the most striking reflection of the puppet show is in creative games: children arrange a theater and themselves or with the help of toys act out what they saw. These games develop the creative powers and abilities of children. Thus, the puppet theater is of great importance for the education of the comprehensive development of children.

Purpose and objectives of the educational program.

Target:

* to introduce children into the world of theater, to give an initial idea of "transformation and reincarnation" as the main phenomenon of theatrical art, in other words, to reveal the secret of the theater to children.

Tasks:

Educational:

Introduce the history of puppet theater;

Awaken interest in reading, feel the poetry of folk tales, songs, love and understand art;

Teach children to make their own dolls;

To ensure that the skills acquired in theatrical games can be used by children in everyday life.

Developing: - to develop individual creative abilities of children;

Develop imagination, spatial thinking of children;

Encourage the development of fine motor skills.

Educational:

To cultivate a respectful attitude to the labor activity of a person;

To develop an artistic and aesthetic taste and a creative approach to completing tasks of varying complexity;

Cultivate communication skills.

Conditions for the implementation of the educational program .

The program is addressed to elementary school students, aimed at the development and correction of higher mental functions.

Main Components

Recognition methods

Motives and values

Interest in theatrical art, the desire to improve their skills in working with a doll.

Knowledge

Knowledge: about the history of the puppet theater, theatrical vocabulary, professions of people who work in the theater (director, artist, decorator, props, actor).

Skills

Making puppets, working with a puppet on a screen.

Dominant personality traits

Acquiring the necessary personal qualities.

Recruitment of students in the team is carried out at will.

Classes are held for 1 academic hour per week.

Total for the academic year - 36 hours.

Expected results of the implementation of the educational program.

The learning outcomes of the program can be determined by the following parameters:

1. They are able to design and make a doll and props of varying complexity.

2. They know how to work with a doll, with a screen.

3. They know how to competently and reasonably evaluate their creative abilities, see and correct mistakes.

4. They know how to independently select, learn and play a role with a doll.

5. They know how to set themselves certain goals and objectives.

6. Develop needs and habits for self-improvement, both knowledge and creativity.

The practical result in the manufacture of dolls and props is the creation by the child of his own works, at first simple (finger puppet, papier-mâché props), then more complex (frame doll, decoration elements, etc.)

The practical result of working with a doll is the child's creation of simple images at first (heroes of fairy tales, poems, jokes), then more complex ones (heroes of stories, plays, etc.).

At the end of the year, exhibitions of works and a show of the play are held at the school and the district library.

Ways to track and control results.

Children with different characters and different degrees of giftedness come to the creative team. The attitude of an adult should be extremely friendly. It is necessary to celebrate every, even small, achievement of the child. It is extremely important to correctly relate to inability, failure, mistakes, so that the child does not transfer the mistake noticed by an adult, his inability, to assess his abilities in general, but learns, together with the teacher, to analyze, understand what his difficulties are.

Children are united by the creative process itself, discussion of the results, holding exhibitions, shows. Relationships in the team change noticeably: children become more tolerant and kind.

Each created work clearly shows the possibilities and degree of mastery of the skill of each student. Gradually creating works of both small and large forms, the children themselves, teachers see a qualitative and creative growth from work to work.

All good luck is encouraged, all shortcomings are gently corrected in practice.

Analyzing the creative process of each child and the works created by him, the teacher develops a differentiated and individual approach to students.

The element of creative competition is very important in the team. The results of each lesson are taken into account. Twice a year, in December and May, the results are summed up and the winners are awarded in each group.

Educational and thematic plan.

(34 hours)

Themes

Number of hours

Total

Theory

Practice

Introductory lesson

Mysterious transformations

Work on the play chosen for the performance

Making dolls and props

Selection for the performance of a play

Showing a play to children

Doll repair

Total

Content of the educational program .

Subject

Introductory lesson . Theory. Theater. Its origins. Acquaintance with the history of the appearance of the parsley theater, with theatrical vocabulary, the professions of people who work in the theater (director, decorator, props, actor).

Mysterious transformations . Theory. To introduce children to the world of theater, to give an initial idea of “transformation and reincarnation”, as the main phenomenon of theatrical art.

Selection for the performance of a play. Practice. Expressive reading of plays by the teacher. Reading conversation. - Did you like the play? Which of her characters did you like? Would you like to play her? What is the main idea of this play? When does the action take place? Where does it take place? What pictures do you imagine while reading

Distribution of roles.

Practice. Reading student work.

Theory. How many characters are there in the play? What is the emotional state of the character? What is his character?

Practicing Reading Each Role .

Practice. read clearly, clearly pronouncing all the sounds in words, do not swallow the endings, follow the rules of breathing; determine logical stresses, pauses; try to imagine yourself in the place of the character, think about how to read for “him” and why that is.

Training to work on the screen.

Practice. Put the doll on the hand: the head on the index finger, the hands of the doll on the thumb and middle fingers; hold the doll over the screen on an outstretched arm, trying to do it smoothly, without jumps; do the suggested exercises with each child.

Screen training .

Practice. reading by each puppeteer of his role, the actions of the role.

Play rehearsal.

Practice. Distribution of technical duties for the performance, installation of design, decorative details, supply of props, assistance to each other in managing puppets, sound design of the performance.

Dress rehearsal of the play .

Practice . Sound and musical design.

Showing the play to children.

Selection for the performance of a play.

Theory . Read the play aloud in front of all students. Determination of time and place of action. Characteristics of the actors, their relationship.

Distribution of roles.

Practice. Readings by roles at the table

Role Readings .

Theory. Deep and detailed analysis of the play.

Play rehearsal .

Practice. Memorizing the text by heart, connecting the action of the doll with the words of its role.

Play rehearsal.

Practice.

dress rehearsal .

Practice. The sound design of the performance.

Showing the play to children.

Selection for the performance of a play.

Practice. Expressive reading of the work of students.Theory.

Role distribution.

Theory. Determine how many characters are in the play. What is the emotional state of the character? What is his character?

Role distribution.

Practice . Handling the read of each role.

Production of props and puppets for the play.

Play rehearsal .

Practice . Learning text by heart, connections

actions of the doll with the words of his relay.

Play rehearsal.

Practice. Distribution of technical duties for the performance, installation of design, decorative details, supply of props, assistance to each other in managing the puppets.

Dress rehearsal.

Practice . Musical arrangement.

Showing the play to children.

Selection for the performance of a play.

Theory. Expressive reading of plays by the teacher. Reading conversation.

Distribution of roles .

Theory . Characteristics of the actors, their relationship. Definition of place and time.

Working with a doll on a screen.

Practice. Reading by each puppeteer of his role, the actions of the role.

Making dolls and props.

Play rehearsal.

Practice. Learning the text by heart. Distribution of technical responsibilities.

Dress rehearsal.

Practice. Music and sound design.

Showing a play to primary school students .

Forms and methods of work.

Working with a doll is a laborious process that requires a developed imagination, fantasy, systematic actions, the ability to analyze and predict the result. Not all children have these qualities. Therefore, all stages are thought out and the most rational rhythm of learning is chosen.

The learning process is built from simple to complex. On simple and small forms, techniques for working with a doll are practiced, which allows you to gradually encourage children to be creative, give

the opportunity to believe in yourself, love this type of creativity and awaken the desire to do more. It is necessary to develop the personality of the child, confidence in his abilities, to provide him with the opportunity to show the best, most successful work at exhibitions and shows. At the end of the year, the guys participate in the reporting show at school. This builds a readiness for solving more complex problems in children.

The form of conducting classes can be different:

Training session;

Creative workshop;

Master Class;

Visiting and participating in exhibitions, shows;

Visiting museums, theaters.

Classes are structured in such a way that theoretical and practical lessons are given to the whole group. Further work is carried out with each student individually, taking into account his capabilities, age and personality characteristics. Theoretical questions are included in practical classes and are a channel for the child's creative initiative.

Educational and methodological support:

Methodological developments;

Information material;

Visual aids;

Photos;

Video materials;

product samples;

templates;

Handout.

The theoretical part of the lesson includes:

Setting goals and explaining tasks;

Creation of conditions for the development of cognitive independence of students (it is desirable to ensure that children themselves determine goals, methods, choose control);

Presentation of new material (carried out in the form of a conversation based on the material already covered and previously acquired knowledge, with a demonstration of new techniques).

The practical part of the classes is based on the following principles:

Accessibility - "from simple to complex";

visibility;

Individual approach to each student;

Organizations of mutual assistance in the performance of work;

Multiple repetition.

Depending on the ability of the student, various forms of work are used: imitative, partially search, creative.

For each completed work, all members of the team express their opinion: they analyze the advantages and disadvantages, which helps all students once again consolidate their knowledge and take into account possible errors.

Requirements for the quality of work are increasing slowly and gradually. This allows you to achieve good learning outcomes.

At the end of each lesson, the work is analyzed and evaluated.

Logistics support of the educational program.

Puppet lessons are held in the classroom.

The office has technical equipment: a music center, a computer. A rack is equipped for storing disks and video cassettes.

Dolls, props, decorations, screens are stored in the cabinets. The bookcase contains works by children's writers. There is an album with drawings of product samples, the best creative works also become samples, with the obligatory indication of the author.

The office has tools: scissors, pencils, rulers, pens, templates and everything you need to make dolls, props and decorations.

Materials for making dolls, props and decorations are provided by the teacher.

In our computer age, children's interest in reading fiction is rapidly declining. Because of what the vocabulary of children becomes poorer, their speech is less common, inexpressive. Children experience difficulties in communication, do not know how to express their thoughts orally or in writing.

And the situation that is developing in the field of Russian literary education and children's reading looks dramatic. In the course of educational reforms, reading turns into a superficial acquaintance with the retelling of works, which causes great harm to the worldview, spiritual and moral formation and development of children.

It is important to realize that children's reading today is a battlefield for the souls of children, and therefore for the future of Russia. It is the lessons of literary reading that should teach children to love, teach to forgive, teach to do good.

But in my opinion, only lessons are not enough. My research has shown that in three reading sessions a week, a child reads 15 minutes in class. When discussing a work, he speaks on average 15-17 sentences. And if this is a shy child, then even less so.

Maybe children read at home on their own or with their parents and discuss what they read there? I conducted a survey of children on the following questions:

1. Do you read books with your parents?

2. Do you have a home library?

3.How often do you visit the library?

The responses were disappointing.

This prompted me to look for new ways of aesthetic education of children's art education; methods of development of individual creative abilities of junior schoolchildren.

Explanatory note

Puppet show- one of the most favorite shows of children. It attracts children with its brightness, colorfulness, dynamics. In the puppet theater, children see familiar and close toys: a bear, a bunny, a dog, dolls, etc. - only they come to life, move, talk and become even more attractive and interesting. The unusualness of the spectacle captures children, transfers them to a completely special, fascinating world, where everything is unusually everything is possible.

Children convey various episodes of the performance in drawings, sculpt figures of individual characters and entire scenes.

The purpose of the circle

To introduce children into the world of the theater, to give an initial idea of \u200b\u200b"transformation and reincarnation" as the main phenomenon of theatrical art, in other words, to open the secret of the theater for children;

Program objectives

To reveal the specifics of the theater as an art: to introduce the history of the puppet theater, the moral sphere of children; arouse interest in reading, teach to see the beauty of the native land, man and his work, feel the poetry of folk tales, songs, love and understand art; to make the life of children interesting and meaningful, to fill it with vivid impressions, interesting things, the joy of creativity; teach children to make their own dolls; to ensure that the skills acquired in theatrical games can be used by children in everyday life.

Pedagogical principles

A differentiated approach to the education of the child, taking into account his individual capabilities and abilities, the position of the child in the family, school; respect for the individual; use of the method of subject teaching; encouragement of creativity, achievement of quality, independent search for an artistic solution: providing conditions for participation in a variety of activities.

Organization of the process

Everyone from the age of 7 who has a penchant for this type of art is accepted into the circle. The planned number of students in the circle is 15 people. This standard is based on sanitary and hygienic standards. This number allows the teacher to put into practice the principle of an individual - personal approach to students, which is very important. Classes begin on September 15th and end on May 25th. Classes are held 1 hour per week. The schedule of classes is compiled taking into account the wishes of students, their parents, as well as the possibilities of the institution. From the proposed distribution of hours for various types, the teacher, at his discretion, can allocate hours for individual work. Students will gradually comprehend this art: they will study history, master the skill of working with a doll, the ability to make dolls and props on their own, and then start working on the chosen play. When organizing work, the teacher needs to remember and fulfill one of the most basic requirements for classes - it is necessary to take into account the influence of the puppet theater on children and be very demanding about the ideological content of the performances, their artistic design and conduct. Everything that is shown to children should be highly ideological and methodologically correct. When distributing classes, take into account the level of training and age of students. Wider use of individual forms of work. One of the important points and conditions for the fruitful work of the circle is summing up the results of the interim and annual. They are held openly in the presence of all members of the circle. The form of the event is different. At the same time, remember: the success of each is compared only with the previous level of his knowledge and skills. At each lesson, summarize the results of the work in the idea of a final briefing. Based on the interests and needs of the children, the order of the topics and the number of hours may vary.

Educational - thematic plan

	Main blocks	Number of hours
	Main blocks		Practice
1	Introductory lesson
2	Mysterious transformations
3	Work on the play chosen for the performance
4	Making dolls and props
5	Selection for the performance of a play
6	Showing a play to children
7	Doll repair
Total


	Introductory lesson. Theater. Its origins. Acquaintance with the history of the appearance of the parsley theater, with theatrical vocabulary, the professions of people who work in the theater (director, decorator, props, actor).
	. Mysterious transformations. To introduce children to the world of theater, to give an initial idea of “transformation and reincarnation”, as the main phenomenon of theatrical art.
	Selection for the performance of a play. Expressive reading of plays by the teacher. Reading conversation. - Did you like the play? Which of her characters did you like? Would you like to play her? What is the main idea of this play? When does the action take place? Where does it take place? What pictures do you imagine while reading
	.The distribution of roles and reading the work of students: Determine how many characters are in the play? What is the emotional state of the character? What is his character?
	Practicing reading each role: read clearly, clearly pronouncing all the sounds in words, do not swallow the endings, follow the rules of breathing; determine logical stresses, pauses; try to imagine yourself in the place of the character, think about how to read for “him” and why that is.
	Processing the reading of each role, rehearsal at the table (to teach children the ability to get used to their role, to teach their intonation to convey mood, feelings, character).
	Learning to work on the screen: put the doll on the hand: head on the index finger, doll hands on the thumb and middle fingers; hold the doll over the screen on an outstretched arm, trying to do it smoothly, without jumps; do the suggested exercises with each child.
	Training to work on the screen, reading by each puppeteer of his role, the actions of the role. Distribution of technical duties for the performance, installation of design, decorative details, supply of props, assistance to each other in managing puppets, sound design of the performance.
	General rehearsal of the play. Making dolls and props.
	Showing the play to children.
	Play selection. Read the play aloud in front of all students. Determination of time and place of action. Characteristics of the actors, their relationship. Distribution of roles. Readings on roles at the table.
	Readings by roles, deep and detailed analysis of the play.
	Play rehearsal. Production of props and puppets for the play.
	Play rehearsal. Memorizing the text by heart, connecting the action of the doll with the words of its role.

	General rehearsal, sound design of the performance.
	Showing the play to children.
	Selection for the performance of a play. Expressive reading of the work of students. Determine how many characters are in the play. What is the emotional state of the character? What is his character?
	Distribution of the role and reading of the work by students. Determine how many characters are in the play. What is the emotional state of the character? What is his character?
	Handling the read of each role.
	Play rehearsal. Making props and puppets for the play.
	Play rehearsal. Memorizing the text by heart, connecting the action of the doll with the words of his relay.
	Play rehearsal. Distribution of technical duties for the performance, installation of design, decorative details, supply of props, assistance to each other in managing the puppets.
	Dress rehearsal. Musical arrangement.
	Showing the play to children “how a dog was looking for a friend”.
	Selection for the performance of a play. Expressive reading of plays by the teacher. Reading conversation.
	The distribution of roles characterizes the actors, their relationship. Definition of place and time.
	Role reading. Working with a doll on a screen.
	Play rehearsal. Making dolls and props.
	Play rehearsal. Learning the text by heart. Distribution of technical responsibilities.
	Dress rehearsal. Sound design.
	Showing the play to elementary school students.
	Doll repair.

Methodical literature: “Puppet theater”, T.N. Karamanenko, M. 2001; newspaper: “Elementary School”, No. 30 .. 1999; Magazine: “Primary School” No. 7, 1999;. “We play puppet theater”, (a manual for practical workers of preschool educational institutions), N.F. Sorokina, M., 1999, Arkti.

Municipal state educational institution

secondary school №4 named after Kirov

Trunovsky District, Stavropol Territory

Accepted Approved

by the decision of the pedagogical council Director of MKOU secondary school No. 4 ___________ V.V. Kuzminsky

protocol No. __ dated "__" ______ 20___ order No. __ from "__" _____ 20___ for school

Extracurricular activities program

Circle "I and the puppet theater"

Compiled by:

primary school teacher

N.A. Smolina

2013

Explanatory note

The main task of any amateur art group is the aesthetic education of its members, the creation of an atmosphere of joy for children's creativity and cooperation.

The general condition of the child, his emotional mood is an important condition for successful upbringing and education. It is necessary to strive to make the life of children fun, interesting, bright and meaningful.

One of the effective means of educational influence is the organization of the puppet theater. The program "Me and the puppet theater" is a one-year program in terms of implementation time.

Relevance program is due to the fact that children do not read fiction outside school hours, they do not have a home library, they very rarely visit the library. Because of what the vocabulary of children becomes poorer, their speech is less common, inexpressive. Children experience difficulties in communication, do not know how to express their thoughts orally or in writing. After all, it is the lessons of literary reading and the reading of fiction and fairy tales that should teach children to love, forgive, teach to do good.

The introduction of theatrical art, through additional education, can effectively influence the educational process. Rallying, expanding the cultural range of students, improving the culture of behavior - all this can be done through training and creativity in the theater circle at school. Theatrical creativity acquires special significance in the primary grades. It not only helps to educate, but also teaches through the game, because. for children, play at this age is the main activity that constantly develops into work (learning). By participating in theatrical games, children get to know the world around them through images, colors, sounds. Students develop love for folk tales, traditions, respect for nature. Children develop creative abilities of thinking, observation, diligence, independence, artistic taste.

The art of puppet theater is closely connected with the surrounding life and everyday life. It shapes the taste, brings up the need for communication. In the classroom, children get acquainted with the principles of decorative processing of the materials used, master the simplest design of dolls, scenery, and also try to create their own "masterpieces" on their own.

Puppet show - one of the most favorite shows of children. It attracts children with its brightness, colorfulness, dynamics. In the puppet theater, children see familiar and close toys: a bear, a bunny, a dog, dolls, etc. - only they come to life, move, talk and become even more attractive and interesting. The unusualness of the spectacle captures children, transfers them to a completely special, fascinating world, where everything is unusual, everything is possible.

Younger students are very impressionable and quickly give in to emotional influence. They are actively involved in the action, answer the questions asked by the dolls, willingly carry out their instructions, give them advice, and warn them of danger. An emotionally experienced performance helps to determine the attitude of children to the characters and their actions, causes a desire to imitate the positive characters and be different from the negative ones. What they see in the theater expands the horizons of children and remains in their memory for a long time: they share their impressions with their comrades, tell their parents about the performance. Such conversations and stories contribute to the development of speech and the ability to express their feelings. Children convey various episodes of the performance in drawings, sculpt figures of individual characters and entire scenes.

Since the main task of the circle is to create conditions for the development of creative abilities, imagination, fantasy, independence of thinking of children, the very process of work, the enthusiasm of the team members is very important, so that when work begins on a specific performance, making puppets, scenery, rehearsals will be a joy , a creative need, not a boring need.

The first attempts to play the heroes of fairy tales expand children's understanding of authenticity in the theater. Here the foundations are laid for understanding the “experiencing school” and the “performance school” in acting. Playing to be believed is difficult. This forms the basis for interest in learning tasks, during which the main emphasis is on games with the word, with text, subtext, with various verbal actions (reproach, order, recognize, surprise, ask, explain, call).

The purpose of the circle is aesthetic education of participants, creating an atmosphere of joy of children's creativity, cooperation; disclosure and development of the potential abilities of children through their familiarization with the world of art - the puppet theater.

Tasks:

To form an interest in the puppet theater.

Introduce children to different types of dolls, their designs, driving techniques.

Expand the horizons of historical, environmental, literary knowledge of students.

To cultivate a caring attitude towards nature, a caring attitude towards one's own work and the work of others.

Develop aesthetic taste, fantasy, ingenuity, artistic memory.

Enrich the experience of children through visiting puppet theaters, video films.

Improve children's artistic skills.

The principle of building a program.

In the classroom, activities are organized that create conditions for the creative development of pupils in the organization and conduct of puppet shows, familiarization with the specifics of the theater.

The program provides that each lesson should be aimed at developing creative abilities. In the classes of the circle, children "give a second life to things." In the manufacture of dolls, decorations, polymeric material, nylon, fabric, paper and much more are used, which once was in use and became unusable in everyday life. And for children, it is a working material with the help of which they create works worthy of admiration from unnecessary things. All this aims at educating the child in a careful and attentive attitude to nature, develops emotional and aesthetic perception; understanding that everything is fundamentally connected with nature.

Implementation period for additional educational program - 1 year.

Program structure. There are two types of tasks in the program. The first type is educational tasks that are aimed at developing the child's emotionality, intelligence, and communicative features by means of children's theater.

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

Forms and methods of employment. One of the main conditions for the success of teaching children and developing their creativity is an individual approach to each child. The principle of training and education in a team is also very important. It involves a combination of collective, group, individual, practical classes, lectures, trainings, games, conversations.

The result of the theatrical activities of children will be puppet theater performances for schoolchildren, parents, and children.

For the development of theatrical creative activity, the program provides for acquaintance with the types of theaters, the history of their origin, visits to the puppet theater, discussion of the performance, acquaintance with theatrical vocabulary, and the professions of people who work in the theater. The children are given the opportunity to choose a work, make dolls, and distribute roles. Practice reading each role and intonation.

Class mode . Classes are held once a week, i.е. number of hours per week 1; 34 hours a year. Children in grades 1-4 participate in the implementation of the program. There are 15 people in the group.

Expected results of the development of the program.

At the end of the year, the student will know:

The stage in the puppet theater is a screen.

The concepts of "theater", "director", "decorator", "props", "actor".

Theater rules.

The student will be able to:

Do articulation exercises with the help of a teacher.

Putting on the doll correctly.

Manage the doll correctly and speak for her, hiding behind a screen.

Do articulation exercises on your own.

Craft using adult dolls.

Correctly manage the doll and speak for her, with the right intonation.

Put on a small play on your own.

result development of the program is: the creative and spiritual development of the participants in the process, and the education of a socially adapted person who is able to put into practice the knowledge gained in the puppet theater.

Ways to check the results of mastering the program. Summing up the results of mastering the material of this program is carried out in the form:

Rehearsals.

Puppet shows (at school, in kindergarten).

Conditions for the implementation of the program.

Everyone from the age of 7 who has a penchant for this type of art is accepted into the circle. The planned number of students in the circle is 15 people. This standard is based on sanitary and hygienic standards. This number allows the teacher to put into practice the principle of an individual - personal approach to students, which is very important. Classes start on September 1st and end on May 25th. Classes are held 1 hour per week. The teacher, at his discretion, can allocate hours for individual work. Students will gradually comprehend this art: they will study history, master the skill of working with a doll, the ability to make dolls and props on their own, and then start working on the chosen play. When organizing work, the teacher needs to remember and fulfill one of the most basic requirements for classes - it is necessary to take into account the influence of the puppet theater on children and be very demanding about the ideological content of the performances, their artistic design and conduct. Everything that is shown to children should be highly ideological and methodologically correct. When distributing classes, take into account the level of training and age of students. The form of the circle is different. At the same time, remember: the success of each is compared only with the previous level of his knowledge and skills. At each lesson, conduct a safety briefing.

Educational and thematic plan

Content
(section, topic)

Character
activities
students

UUD

Grade
results

subject
interdisciplinary

Date of the lesson

Introductory lesson. Theater. History of the puppet theatre. Acquaintance with the history of the theater, with theatrical vocabulary, the professions of people who work in the theater (director, decorator, props, actor).

Story with elements of conversation.

A game.
Excursion to
theater.
playing out
situations.

To give children the opportunity to plunge into the world of fantasy and imagination. Acquaintance with the concept of "theatre", "director", "decorator", "props", "actor".
Formation of correct behavior in the theater.

Diagnostics "Culture of behavior in the theater".

The theater starts with a hanger, and the puppet theater starts with a screen.
Culture and technique of speech.

Conversation.
Practical activities.
Articulation gymnastics.

Talk about the screen, about working behind it (for work, first of all, you need a screen, you can make it at labor lessons by high school boys, or you can connect your parents, they can make two racks, and stretch matter between them).
Teach kids on their own

"Window"
wide open
mouth - "hot"
close your mouth - "cold."
"Clean your teeth"
smile, open your mouth

"Knead the Dough"
smile

bite the tip of the tongue with teeth (alternate these two movements) and
etc.

Mysterious transformations. To introduce children to the world of theater, to give an initial idea of “transformation and reincarnation”, as the main phenomenon of theatrical art.

Staged.
Role-playing game.

Recall and dramatize with children the fairy tales "Teremok", "Gingerbread Man", "Turnip". Develop attention, memory, imagination, communication; enrich the spiritual world of children with techniques and methods of theatrical pedagogy.

Selection for the performance of a play. Expressive reading of the play by the teacher.

Reading conversation. - Did you like the play? Which of her characters did you like? Would you like to play her? What is the main idea of this play? When does the action take place? Where does it take place? What pictures
you imagine while reading.
Cleanliness, tongue twisters.

Work on diction.

Distribution of roles.

Role-playing game.
Finger games.

Staged.
Finger games.

To form the ability to get used to their role, to teach them to convey mood, feelings, character with intonation.

Playing.

To teach to read clearly, clearly pronouncing all the sounds in words, not to swallow the endings, to follow the rules of breathing; determine logical stresses, pauses; try to imagine yourself in the place of the character, think about how to read for “him” and why that is.

Manufacturing
hand puppets, props and
Scenery.

Practical activities.

Give a second life to things.

Training to work on the screen, behind the screen

it's smooth without

Playing.
Articulation gymnastics

Training to work on the screen, behind the screen, each puppeteer reading his role, the actions of the role.

Rehearsals.

Continue rehearsing
episodes of the play.

Story with elements of conversation.
Discussion.
Listening
and selection of music.

A game.
Staged.

Play rehearsal.

Practical activities.

Distribution of technical duties for the performance, installation of design, decorative details, supply of props, assistance to each other in managing the puppets.

Dress rehearsal, sound design
performance.

Teaching children teamwork. Develop clear and fluent speech

Play show
elementary school students, kindergarten students, parents of students,
population in DC

Performance.

Lesson summary. Discussing repertoire for next year.

Conversation.

A game.

The theater starts with a hanger, and the puppet theater starts with a screen.
Culture and technique of speech.

Conversation.
Practical activities.
Articulation gymnastics.

A conversation about the screen, about working behind it (a screen is needed first of all for work).
On one's own
do articulation exercises:
"Clean your teeth"
smile, open your mouth
with the tip of the tongue from the inside, "clean" alternately the lower and upper teeth.
"Knead the Dough"
smile
slap your tongue between your lips - "pya-pya-pya-pya-pya ..."
bite the tip of the tongue with teeth (alternate these two movements).
"Pussy"
lips in a smile, mouth open
the tip of the tongue rests on the lower teeth
bend the tongue with a slide resting the tip of the tongue on the lower teeth.
"Horse"
draw out the lips
open your mouth
clatter with a "narrow" tongue (as horses clatter their hooves).
"Catch a mouse"
lips in a smile
open your mouth
say "ah" and bite the wide end of the tongue (caught the mouse by the tail).
"Steamboat hums"
lips in a smile
open your mouth
pronounce a long "s-s-s ..." with tension

Mysterious transformations. Introduce children to the world of theater, consolidate the idea of “transformation and reincarnation”, as the main phenomenon of theatrical art.

Staged.
Role-playing game.

Recall and staging of the fairy tales "Teremok", "Kolobok", "Turnip", "Little Red Riding Hood", "Zaikin's hut". Develop attention, memory, imagination, communication; enrich the spiritual world of children with techniques and methods of theatrical pedagogy.
Develop memory, imagination, communication of children

Choice of a play for the play. Expressive reading of the play by the teacher.

Reading conversation. - Did you like the play? Which of her characters did you like? Would you like to play her? What is the main idea of this play? When does the action take place? Where does it take place? What pictures do you imagine while reading.
Cleanliness, tongue twisters.

You must first choose the simplest plot for the play. Choose a fairy tale, make a director's development. This means thinking about how many puppets will participate in the performance, how they should look. Next, paint the fairy tale by roles, mentally imagining the scenes that the guys will act out.
To get acquainted with the creative possibilities of children, to study their life experience; encourage understanding, patience, mutual assistance.
Work on diction.

Distribution of roles.

Role-playing game.
Finger games.

It is necessary to distribute the roles, it is desirable to select the guys by votes. To develop the ability of children to sincerely believe in any imaginary situation; learn to use intonation, pronouncing phrases sad, joyful, surprised, angry.

Practicing reading each role, rehearsing at the table.

Staged.
Finger games.

Formation of the ability to get used to their role, teach them to convey mood, feelings, character with intonation.
Learn the text of the play with children, paying attention to articulation, breathing, voice.
Improve attention, imagination, memory, communication of children.

Practice reading each role.

Playing.

Presentation "Puppet Workshop".
Manufacturing
hand puppets, props and
Scenery.

Practical activities.

Give a second life to things.
Develop children's imagination and fantasy.
Raising a child's careful and attentive attitude to nature.

Continue learning to work on the screen, behind the screen.

Practical activity: put the doll on the hand - the head on the index finger, the hands of the doll on the thumb and middle fingers; hold the doll over the screen at arm's length, trying to make
it's smooth without
jumps; do the suggested exercises with each child.
Playing.
Articulation gymnastics

Do physical exercises. (Children should raise their hands up, if the puppets are ready, then together with the puppets, and should twist the puppet in different directions on an outstretched arm, try moving along the screen. This work must be done at each rehearsal, because the muscles of the shoulders and arms will quickly begin the guys get tired if they are not prepared in advance for this work.After physical gymnastics, work on roles begins.
To form pronunciation, articulation, speed and clarity of pronunciation of words and phrases.
Develop attention, coordination of actions.

25-26

Working on the screen

behind the screen, each puppeteer reading his role, the actions of the role. Distribution of technical duties for the performance, installation of design, decorative details, supply of props, assistance to each other in managing the puppets.

Rehearsals.

Work on the expressiveness of speech and the authenticity of behavior in stage conditions.
Continue rehearsing
episodes of the play.

27-28

Musical arrangement of the performance

Story with elements of conversation.
Discussion.
Listening
and selection
music.

To acquaint children with musical works, excerpts of which will sound in the play.
Work on the expressiveness of speech and the authenticity of behavior in stage conditions.

Play rehearsal. Memorizing the text by heart, connecting the action of the doll with the words of its role.

A game.
Staged.

Rehearse the prologue, episodes 1 and 2 of the performance using scenery and props. Assign responsible for the props, scenery, costumes.
Improve finding key words in a sentence and highlight them with your voice.

30-31

Play rehearsal.

Practical activities.

Rehearse episodes 3, 4 using scenery.
Distribution of technical duties for the performance, installation of design, decorative details, supply of props, assistance to each other in managing the puppets.
To improve the ability of children to create images using gestures, facial expressions.

General rehearsal, sound design of the performance.

Rehearse all episodes of the performance using scenery, costumes, musical accompaniment, light. Teach children to evaluate the actions of others and compare them with their own actions.
Teaching children teamwork. Form a clear and competent speech.

Play show

primary school students.

Performance.

Formation of clear and competent speech.
Achieve the expressiveness of the action.
Formation of team cohesion.

Spectator reaction

to performances.

Lesson summary. Discussion of all presented
performances.

Conversation.
A game.

The ability to express their thoughts, judgments, listen to the opinions of others. The development of goodwill, a sense of collectivism.

List of literature recommended and used for the teacher

1. "The second life of things" under. Ed. ETC. Atupova 1989.
2. Demmeni E. "Vocation - puppeteer" L; Art, 1986.
3. Kalmanovsky E. "Puppet Theatre, Today" L; Art, 1977.
4. Korolev M. "The Art of the Puppet Theater" L; Art, 1973.
5. Samples S. "Actor with a doll" Book. 1M; l; Art, 1973.
6. Solomnik I. "Dolls go on stage" - M; Enlightenment, 1993.
7. Fedotov A. "Secrets of the puppet theater" - M; Art, 1963.
8. Smirnova N.I. "Dolls Come to Life" - M; Det. Lit. , 1982.
9. Alkhimovich S. “Petrushka Theater visiting kids”, 1969

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