Theater games in kindergarten. The teacher makes a riddle. And the prickly hedgehog laughs

This work contains theoretical material about theatrical games, varieties of games. Starting from the second junior group, interesting theatrical games were given in the preparatory group.

Theatrical games are always loved by children. Preschoolers are happy to join the game, answer the dolls' questions, fulfill their requests, give advice, transform into one or another image.

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"Theatrical games in kindergarten"

Compiled by: teacher 1 qual. category.

Farkhutdinova Siren Ildusovna.

Theatrical games are always loved by children. Preschoolers are happy to join the game: they answer questions from dolls, fulfill their requests, give advice, transform into one or another image. Kids laugh when the characters laugh, feel sad with them, warn of danger, cry over the failures of their beloved hero, are always ready to help him.

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

What do we know about theatrical games? Apparently, they are so named for their proximity to theatrical performance. Spectacle always causes joy, and the fabulousness of the images enhances the attractiveness of the game.

Theatrical games.

The well-known classifications of theatrical games do not take into account their main essence - the means of representation used by the participants in the game. All theatrical games are divided into two main groups: director's games and dramatization games.

The director's games include: tabletop, shadow theater, theater on the flannelograph. Here, a child or an adult is not a protagonist himself, he creates scenes, plays the role of a toy character - voluminous or planar. He acts for him, depicts him with intonation, facial expressions. The child's pantomime is limited. After all, he acts as a fixed or inactive figure, a toy.

Dramatizations are based on the performer's own actions, which may use bibabo puppets or characters worn on fingers. In this case, a child or an adult plays himself, mainly using his own means of expression - intonation, facial expressions, pantomime.

Varieties of director's games

Board theatrical games

Tabletop toy theater. A wide variety of toys are used in this theater - factory-made and home-made, from natural and any other material. Here, fantasy is not limited, the main thing is that toys and crafts stand steadily on the table and do not interfere with movement.

Desktop picture theatre.All pictures - characters and decorations - are double-sided, since turns are inevitable, and in order for the figures not to fall, supports are needed, which can be very diverse, but must be sufficiently stable. This is ensured by the correct ratio of the weight or area of support to the height of the picture. The higher the picture, the more or more weighty the area of \u200b\u200bsupport is needed.

Actions of toys and pictures in the table theater are limited. But they should not be lifted and carried from place to place. It is important to imitate the desired movement: running, jumping, walking and at the same time pronouncing the text. The state of the character, his mood is conveyed by the intonation of the presenter - joyful, sad, plaintive.

Characters before the start of the game is best hidden. Their appearance in the course of action creates an element of surprise, arouses the interest of children.

In order to create an idea of the scene, use scenery elements: two or three trees are a forest, green cloth or paper on the table is a lawn, a blue ribbon is a stream.

Poster theatrical games

Stand - book Dynamics, the sequence of events is easy to depict with the help of illustrations replacing each other. For games like traveling, it is convenient to use a stand - a book. Attach it to the bottom of the board. On the top, place the transport on which the trip will take place. In the course of the trip, the host (first the teacher, and then the child), turning over the sheets of the stand-book, demonstrates various plots depicting events, meetings that take place on the way. You can also illustrate episodes from the life of a kindergarten if each page shows a new regime process.

flannelgraph Pictures are good to show on the screen. They are held together by flannel, which covers the screen and the reverse side of the picture. Instead of flannel, pieces of sandpaper or velvet paper can also be glued onto the pictures. Drawings can be selected with children from old books, magazines, and the missing ones can be completed. Natural materials can also be used.

Screens of various shapes allow you to create "live" pictures that are convenient to show to the whole group of children.

shadow theater Here you need a screen made of translucent paper, expressively carved black plane characters and a bright light source behind them, thanks to which the characters cast shadows on the screen. Very interesting images are obtained with the help of fingers. For example, you can make a goose, a hare, a barking dog, etc. Just remember to accompany the display with the appropriate sound.

Varieties of games - dramatizations

Participating in games - dramatization, the child, as it were, enters the image, reincarnates into it, lives its life. This is perhaps the most difficult performance, since it does not rely on any materialized pattern.

Attribute is a sign of a character that symbolizes its typical properties. For example, a characteristic mask of an animal cut out of paper, a cap, an apron (elements of work clothes), a kokoshnik, a wreath, a belt (elements of a national dress), etc., the child puts on. He must create the image himself - with the help of intonation, facial expressions, gestures, movements.

Games - dramatization with fingersThe child puts attributes on his fingers, but, as in dramatization, he himself acts for the character whose image is on his hand. In the course of the action, the child moves one or all of his fingers, pronouncing the text, moving his hand behind the screen. You can do without a screen and depict actions, moving freely around the room.

Dramatization games with bibabo dollsIn these games, a doll is put on the fingers. The movements of her head, arms, torso are carried out with the help of movements of the fingers of the hand.

Bibabo dolls usually operate on a screen behind which the driver is hiding. But when the game is familiar or the children themselves drive the doll, that is, the moment of mystery has disappeared, then the drivers can go out to the audience, communicate with them, give them something, take someone by the hand, involve them in the game, etc. Such an “exposure” does not reduce, but rather raises the interest and activity of the guys.

When children see an adult play with bibabo dolls, they will most likely want to learn how to drive them themselves. Show the children how the doll should move, how to move it along the screen.

Improvisation - acting out a theme, a plot without prior preparation is perhaps the most difficult, but also the most interesting game. All previous types of theater are being prepared for it. And all the children will be at a loss if you suddenly invite them to play this or that scene. Prepare them for this - come up with a theme together, discuss how to portray it, what roles will be, characteristic episodes.

The next step is to let each participant in the game portray the theme in their own way. And an even more difficult task: the child chooses a topic and plays it out himself. Next time, the guys themselves ask each other topics. And finally, with the help of facial expressions, intonation, attribute, you can guess a riddle. The answer is the theme, which is also played out.

Theatrical games as a kind of plot-role-playing games retain their typical features: content, creative intent, role, plot, role-playing and organizational actions and relationships. The source of all these components is the surrounding world. It is also a support for the creativity of the teacher and children. Each theme can be played in several versions.

However, unlike role-playing games, theatrical games develop according to a pre-prepared scenario, which is based on the content of a fairy tale, poem, story. The finished plot, as it were, leads the game. But, while facilitating the development of the theme, he at the same time reduces the creative solution of its educator and children. All currently existing practical recommendations for theatrical games come down mainly to the development of scripts based on literary works, most of which are played by adults. Older preschoolers are sometimes involved in performances, but their creativity consists only in their own emotional expression of the role being played.

All of the listed types of theatrical games require directing and pronunciation of remarks. It also requires expressive intonations, typical for a certain image, facial expressions that complement the play of the voice. The image of the behavior of the characters becomes more complicated in the dramatization game. Pantomime becomes the leading visual means here. The image is born from the actions of the character, facial expressions, intonations and the content of the replicas. All this gives room for creativity in the transformation of a familiar plot.

How to develop and educate children in the game?

For this, first of all, the proper organization of theatrical games is necessary. Its main requirements are:

The constant, daily inclusion of theatrical games in all forms of organization of the pedagogical process, which makes them as necessary for children as role-playing games;

Maximum activity of children at all stages of preparation and conduct of games;

Cooperation of children with each other and with adults at all stages of organizing a theatrical game.

The sequence and complication of the content of topics and plots chosen for games is determined by the requirements of the education program for each age group of the kindergarten. The creative development of the theme begins with the preparation of a game script based on the plot of a literary work: a fairy tale, a story, a poem. Next, improvisation of children on a given or chosen topic is expected.

The independence of children's play to a large extent depends on whether they know the content of the tale, the script. It is very important to keep the author's text completely at the stage of listening to it by children. Do not distort it in any way. But you should not learn the text with the guys before the start of the game. Such preparation would take away the time allotted for other equally important matters and activities. In addition, the result will be a performance, not a game.

Questions may arise: how and when to acquaint the children with the content of the script? How independent and creative will the game be if the children know the text of the work well? Maybe it's better to offer them unfamiliar text? A well-known and, in general, quite justified recommendation - reading the work before the start of the games - requires discussion and clarification. Reading becomes understandable if it is well illustrated. For this purpose, it is best to show "live" pictures on a flannelgraph or on a table, or you can use a toy theater or bibabo dolls. Thus, visual images are simultaneously created, ways of their emotional expressiveness and play are demonstrated.

At first, it is better for the educator-leader to read the text himself, involving children in pronouncing its individual fragments. In repeated games, the activity of the children increases as they master the content of the text. Never demand its literal reproduction. If necessary, easily correct the child and, without delay, play on. In the future, when the text is well understood, encourage its accuracy of presentation. This is important so as not to lose the author's findings. When reading poetic texts, connect children to the game if possible. Let them actively participate in a dialogue with you, play along with the main storyline, imitate the movements, voices, intonations of the characters in the game.

It is difficult for the educator to learn a lot of poems, texts of various theatrical games. You can burn them to disk. Recording allows you to save the means of artistic expression of the text, figurative expressions of the author. But don't rely entirely on the recording. As much as you can, learn the texts yourself. After all, reading a work should be combined with facial expressions. In addition, you can use poems every day when communicating with children.

Participants in theatrical games must master the elements of reincarnation so that the character's character, his habits are easily recognized by everyone. At the same time, give children more freedom in actions, imagination when depicting a theme, a plot of a game.

Every child wants to play a role. But almost no one knows how to do this in order to experience satisfaction on your own and get the approval of your peers. Unexpressive intonations, monotonous movements give rise to dissatisfaction with oneself, lead to disappointment, loss of interest in the game, and, consequently, a decrease in its emotional impact on children.

Of the variety of means of expression, the kindergarten program recommends the following: in the second younger group, to form the simplest figurative and expressive skills in children (for example, imitate the characteristic movements of fairy-tale characters - animals); in the middle group, use artistic and figurative expressive means - intonation, facial expressions and pantomime (gestures, posture, gait); in the senior group to improve artistic and figurative performing skills; in the preparatory school group to develop creative independence in the transfer of the image, the expressiveness of speech and pantomime actions.

So, your speech in everyday communication, reading, recitation, theatrical games that you initially lead yourself serve as the first role models.

Next - small exercises with children. They should start with the younger group. It is better to conduct it immediately after the end of the theatrical game. Children are delighted with how you drove the characters, as they said, acted for them. It's time to invite them to play the same way. For exercises, use the statements of the characters that have just spoken. For example, in the fairy tale "Mitten" you need to ask for a mitten, like a mouse and like a wolf. As a rule, there are many people who want to speak and listen. Complicate the exercise - let several mice take turns asking for a house. Who can say more plaintively? And then they are for the wolf. Who looks more like? The rest, of course, are burning with impatience, wanting to speak. Let everyone do it. But first, announce a competition - who is better? The winner is applause.

Children are more interested when they not only speak, but also act like heroes of fairy tales. Point them out to some of the ways the characters drive and let them try it out for themselves. The rest will also imitate role-playing movements. Draw the attention of children to the best performance. Ten minutes of such exercises will satisfy the desire of the children to participate in the game, bring them joy. In addition, the necessary skills will be formed.

Next time, invite the pupils to act out the dialogue of two characters: pronounce the words and act for each. This is an exercise in intonation of dialogue. An example is the requests of animals to put them in a mitten and the answers of those who settled in it.

Children feel good and repeat intonations built on contrasts. For example, how the stepdaughter and stepmother's daughter address the months; how three bears talk. The exercise can be done like this. Name the story. And let the children guess which girl or which bear you spoke for. Then they themselves, with the help of intonation, make similar riddles to each other. It is useful to use all suitable cases in everyday communication, games, in order to exercise children in a variety of intonation of the most familiar words: “hello” (joyfully, affably, kindly, carelessly, gloomily); “goodbye” (with regret, chagrin or hope to see you soon), etc.

Choose a quatrain and read it to the children with different intonations. Ask them to repeat, or maybe find new intonation options, for example: surprised, mocking, bewildered, sad, cheerful, compassionate. Say the phrase, putting the stress on a new word each time. For example: “Don't forget to feed the fish”, “I love my sister”, etc. Pay attention to how the meaning of the phrase changes depending on the stressed word. Be sure to continue to exercise them on fragments from theatrical games, for example, “Grandfather planted a turnip”, “And Fedor became kinder”, etc.

Watching the performers with the children, teach the children to notice the differences in the characteristics of the images. It's good if you give everyone the opportunity to portray in their own way.

The music helps convey the character's character. For example, in music lessons, you can encourage children to imitate the movements of various characters with a melody. For example, after listening to the song "Cockerel" B, Vitlina depict how the cockerel sings when he got sick and when he recovered.

The child, rhythmically hitting the tambourine, shows how the bear walks, the hares jump. Other children guess which movements correspond to the movements of the bear and the hares. Together with musical accompaniment, you can imitate the movements of a frolicking or tired horse.

And here are the musical riddles: “Show how the bunny jumps” (V. Agafonnikov. “Small, white”); “Show how inaudibly, softly the cat moves” (V. Agafonnikov. “All hairy”); “Show how a cockerel walks” (V. Agafonnikov “Not a rider, but with spurs”).

While the children are doing the task, you, along with the rest of the guys, carefully look and note the features of the game of each "actor", involve the guys in finding their own ways of showing. In the future, be sure to include such fragments in theatrical games in order to find practical use for them.

Each game requires its own means of expression and creative finds.

Theatrical games

Second junior group

"Mitten"

(Based on the Ukrainian folk tale)

Theater of toys or pictures on the table

Target. To teach children to actively participate in joint games, to portray the characteristic features of the behavior of characters. To cultivate friendship, camaraderie, the ability to act in concert.

Characters. Host, grandfather, mouse, frog, hare, fox, wolf, boar, bear, dog.

Preparing for the game.Watching the cartoon "Teremok".

For the toy theater, select characters from ready-made toys, complement them with homemade products made from natural materials. Stick planar characters on the silhouettes corresponding to them made of thick cardboard, plastic or plywood on both sides.

On the grandfather's hands are colorful, bright mittens with Ukrainian embroidery, make the one that he drops so large that all the animals can fit in it.

The action can be played on 2-3 shifted tables. Place a simple decoration depicting an autumn forest on them: cover the tables with an orange-green cloth, attach trees and bushes in the corners.

Game progress. For the first time, involve your assistant in the game. He will play the role of grandfather. Take on the role of leader. The performers of the roles of animals will be children who can expressively portray characters.

Children-spectators are placed in a wide circle around the improvised stage, and "artists" with characters in their hands are located in the "forest" (in different parts of the room). Grandfather and his dog (it may be a child) are outside the door. Agree in advance that the characters will appear on the "stage" and act only when they are called by the host. So the game begins.

Lead ( shows a hand on which a mitten is worn, reads a poem by N. Sakonskaya “Where is my finger?”).

Masha put on a mitten. Masha took off her mitten.

Oh, where am I doing my finger? - Look, I found it!

I don't have a finger, I'm gone, You're looking, you're looking - and you'll find.

Didn't make it to my house! Hello finger!

How are you?

What a warm house for fingers! Show how many do you have? How many, and they all fit into a small mitten. And if the finger, like Masha's, gets lost, it will still end up in a mitten with the rest of the fingers-friends. Children, what do we put on a mitten? That's right, on hand. Therefore, it can also be called a "mitten". This is the name of the mitten in Ukraine. It was they who sent us their Ukrainian folk tale "Mitten". This tale is very similar to the Russian folk tale "Teremok". Remember her? And today we will get acquainted with the gift of Ukrainian children - the fairy tale "Mitten".

The grandfather was walking through the forest. And the dog was running after him.

Grandfather appears, walks slowly, inspects the trees, takes off his mittens, accidentally loses one. The dog is merrily fondling children. Children try to stroke her, invite her to visit. Grandfather calls the dog and leaves.

Leading. Children, look, what is this? (Raises the mitten.)Whose glove? Yours? Maybe yours? No? So whose is it?

Children. Probably grandfather lost!

Leading. That's right, big mitt! Now his hands are cold. What to do?

Children. Call grandpa! ( Name.).

Leading. Probably, grandfather has gone far, he does not hear. Well, let's put the mitten in a conspicuous place. (Leaves on the stage-table.)If grandfather remembers, he will return and immediately find the loss. How quiet it is in the forest. Chu! Someone is close... the foliage is rustling... Yes, it's a mouse running! (He gestures to the mouse.).

The mouse sniffs the mitten, squeaks.

Leading. What, did you like the glove?

Mouse. Yes, I will live here.

Leading. Here is a smart girl, hid from the cold. Shall we let her live in a mitten, children?

The mouse, with the consent of the children, climbs into the mitten and looks out.

Leading. Children, and who is this slapping the belly on the ground? (Gives a signal for the frog to exit.)

Children. This frog is jumping.

Leading. Let's ask together with the frog: who is sitting in the mitten?

Together. Who lives in a mitten?

Mouse. I'm a scratching mouse, and who are you?

Frog. I am a frog, qua-qua-qua.

Leading. Ask for a mouse!

Frog. Let me go, mouse, into the house.

Mouse. Go! ( Both look merrily out of their mittens.)

Leading. How many of them became?

Children. Two!

Leading. More fun together, right? And now whose jumps are heard in the forest?

Children. Yes, this Bunny is running!

Leading. He also saw a mitten and asked ...

Bunny. Who is wearing a mitten?

Leading. What are you hiding, animals? Respond!

Frog. I am a Frog Frog. And who are you?

Hare. And I'm a runaway bunny. Let me go too.

The leader gestures the animals and children to say: “Go!”

Leading. How many are there now?

Children. Three!

Leading. The three of us are even more fun than the two of us. And who is it that runs so lightly, covering its tracks with its tail?

Children. Little fox-sister runs.

Leading. Noticed the mitten, sly fox!

Fox. Who is in this mitten?

Animals (looks out). There is a scratching mouse, a frog frog, a runaway bunny. And who are you?

Fox. I am a sister fox. Let me go too!

Leading. Shall we let the fox go? Will you hurt animals?

Fox. I won't, I won't.

Animals. No!

Leading. Why are there a lot of animals, but they are not crowded? Because they are friendly, do not interfere with each other. Who else is running? ( Summons a wolf.) That's right, children are a wolf, he also found a mitten. Do you want to know who is wearing the mitten?

Wolf. Who lives in a mitten?

Mouse. I am a scratching mouse.

Frog. I am a Frog Frog.

Bunny. I am a runaway bunny.

Fox. I am a fox sister. And who are you?

Wolf. Yes, I'm a top-gray barrel, rrrr! Let me go too!

Leading. And in fact, the side is gray, but growls not angrily, but plaintively, and the teeth are sharp. Children, he will not offend our friends - animals?

The wolf promises not to offend the animals.

Leading. Let's trust him. Painfully, he froze, sorry for him, let him warm up.

The wolf hides in a mitten.

Leading. There are so many of you! Together we will try to count you: one, two, three, four, five. And the mitten is stretched! That was small, and now, children ... Big. Listen, someone heavy is running, but how grunting! That's right, he also wants to find a house for the winter.

Boar. Chro-chro-chro. Who is in this mitten?

Animals. (in order). Scratch mouse, frog frog, runaway bunny, sister fox, gray barrel top. And who are you?

Boar. I'm a fang boar, chro-chro-chro. I dig the ground with a heel, I look for tasty roots, I feed everyone.

Leading. It's not bad for winter. Yes, how do you get in here? Will he fit? Children, ask the animals.

Animals. Come on, let's get busy.

Leading. A lot of them. Close, but not offended. Look, everyone is cheerful, no one complains. Listen: the bushes are cracking, someone is stepping heavily and someone is roaring. What to do? Who is in the forest, everyone hurries to the mitten.

A bear appears.

Leading. What do you want, Misha, to get warm too?

Bear. Who lives in a mitten?

Leading. Children, help the animals, otherwise Misha is old and a little deaf.

Children and animals. I am a scratching mouse, I am a frog-frog, I am a runaway bunny, I am a fox-sister, I am a top-gray barrel, I am a fang-boar. And who are you?

Bear. Gu-gu-gu! There are so many of you! And I'm a bear - father. Let me go too.

Animals. Where will we let you in when it's so crowded?

Leading. What are we to do, children? How will we deal with Misha? Maybe let him at least from the edge? A bear climbed in - there were seven. Will the glove break?

The barking of a dog is heard, the grandfather returns.

Grandfather. Where is my glove? ( Looking for). Look, Gavkusha! Children help me find a mitten, my hands are cold. Yes, she is still moving. Oh, who is that in it?

The dog barks into the mitten. The animals run in all directions. Children catch them, laugh, invite them to visit again. Grandfather quietly takes the mitten and leaves.

Leading. Where is the glove? Come, little animals, to visit us again, or even for the whole winter. Shall we make room, children? Is there enough space for everyone? Our children are friendly guys. They know: "Comrade always help out."

To interest children, in the second game - dramatization, use the following technique: discreetly put the mitten in a place where the children can see it. For example, when going for a walk, children find a mitten on the path. The question arises: "Whose is she?". Maybe this is a grandfather's mitten from a fairy tale? There would be a mitten, but there will always be animals - after all, you did not forget to grab hats or medallions with their images. Now the animals will be different. You will again play the role of grandfather and leader. You can change and change clothes by going outside the veranda for a minute.

In the third game, the role of a grandfather can be offered to one of the children. The role of the leader in the younger group is played only by the teacher.

Each time it is desirable to start and finish the game in a new way, to activate all its participants more, thereby developing creativity, independence, satisfying the activity of children.

middle group

"Turnip"

Game - dramatization

Target. To develop in children the expressiveness of intonation, facial expressions of movements. Cultivate a sense of collectivism, mutual assistance.

Characters. Host, grandfather, woman, granddaughter, dog Bug, cat Murka, mouse.

Preparing for the game.Show of the cartoon "Turnip".

Material. Headdress or other elements of Russian folk costume; a hat for grandfather, a stick (maybe a beard); scarf, apron for a woman; sundress, scarf for granddaughter; attributes for the image of animals. There may be other characters at the request of the children.

Game progress. When organizing the first game, let the children know that a Russian folk tale is visiting them today. Which? Let them guess for themselves. Show them the attributes, maybe they will tell the guys what kind of fairy tale they will meet. By trying on hats for different children, make them want to play. There will be many of these. But for the first game, choose those who can best fulfill the role and be a model for others. The rest of the guys are just spectators. Together with them, decide where the family of the grandfather and the woman will live, where to place their garden. Remind the children - "artists" that they will be included in the game in the course of the fairy tale, and start telling it, since the role of the leader belongs to you.

Leading. Grandfather planted a turnip. (Expresses with the help of facial expressions and gestures approval of the grandfather's diligence and diligence.)A large turnip has grown - very large. (Impressed by her size.Grandfather began to pull a turnip from the ground.

All. Pulls - pulls - can not pull.

Leading. This is how the grandfather raised the turnip, and he can’t cope with it! But he has many helpers. Whom shall we call?

Grandfather. Grandma, help!

Leading. The grandmother does not go, she does not hear. Household chores. Shall we call grandma?

All. Grandma, help!

Grandmother. I'm coming!

Leading. Grandmother for grandfather, grandfather for turnip - they pull - they pull, they cannot pull it out. (Expresses surprise at how firmly the turnip sits in the ground.)The grandmother called her granddaughter.

Grandmother. Granddaughter help!

Leading. The granddaughter hurries to help the elderly.

Granddaughter. I'm coming!

Leading. Granddaughter for grandmother, grandmother for grandfather, grandfather for turnip ...

All. Pull - pull, pull can not. ( Surprised.)

Leading. The granddaughter called the dog Zhuchka. The bug didn't linger.

Bug. Woof-woof-woof, run!

All. A bug for a granddaughter, a granddaughter for a grandmother, a grandmother for a grandfather, a grandfather for a turnip - they pull - they pull, they cannot pull it out. ( Very upset.)

Leading. Bug called the cat.

Bug. Murka, help!

Leading. The cat does not go, lies basking, does not listen to the Bug. Let's all call together.

All. Murka, go! Can't manage without you!

Murka. I'm coming!

All. A cat for a bug, a bug for a granddaughter, a granddaughter for a grandmother, a grandmother for a grandfather, a grandfather for a turnip - they pull - they pull, they cannot pull it out. (The patience of the audience and the "actors" is running out, their faces are filled with despair from endless failures.)

Leading. The cat called the mouse. The mouse squeaks in fear, but still hurries to help.(Cheers up the mouse, calms it down.)

All. A mouse for a cat, a cat for a bug, a bug for a granddaughter, a granddaughter for a grandmother, a grandmother for a grandfather, a grandfather for a turnip - they pull, they pull, they pulled a turnip! ( Rejoice.)

If the children want to continue playing on their own, help them put on the attributes. See what they can do on their own, what needs your help.

Kolobok

Based on a Russian folk tale

Shadow play

Target. To instill in children an interest in folk art, a desire to join it. To teach to distinguish and convey intonations, the characters of fairy-tale characters: disobedience, arrogance, gullibility of a bun, cunning of a fox, innocence of other animals, to cultivate sympathy for old grandfather and grandmother. To improve the ability of children to drive shadow theater characters.

Characters. Grandfather, woman, gingerbread man, hare, wolf, bear, fox, leader.

Preparing for the game.Show the children the cartoon "Kolobok".

Material. Elements of Russian folk costume for children playing the roles of a grandfather and a woman. Several koloboks - the first, made from a ball painted in accordance with the image(you can use a flashing night light "Kolobok");the second is a small, dark silhouette(he will cool down on the window, he will jump on the tongue of the fox);the third is a larger dark silhouette that can roll along a forest road due to a movable fastening on a wire; dark silhouettes of other fairy tale characters.

The dark silhouette of a house with an openwork ridge of the roof, a large window opening in which a bun can fit. Adaptation for showing the theater of shadows, lighting.

Game progress. In the middle group, all roles can be distributed among the children. They place devices for showing the theater, invite those who wish to watch the performance. The host sits in front of the screen.

Host (fun) We invited the Russian folk tale "Gingerbread Man" to visit(Includes a tape recording of a Russian folk melody.)

Grandfather and grandmother come out to the music.

Leader (thoughtfully). Lived - there were an old man with an old woman. That's what the old man asks...

Grandfather (politely). Grandma, bake me a bun for tea.

Baba (bewildered). Yes, what to bake from? There is no flour.

Grandfather (reasonably). Yes, you, granny, mark the barn, scrape the bottom of the barrel - that's enough.

Baba begins to fuss, saying: “I’ll scoop up a handful of two flours, knead the dough with sour cream, roll it into a bun, fry it in oil and put it on the window.” It exposes a round ruddy bun. Everyone admires him.

Grandfather and woman go behind the screen, and the shadow theater begins. Now only silhouettes will work on the screen.

Woman (puts the bun on the window).Let it get cold!

Leader (disappointingly). Tired of the kolobok lying: he rolled from the window - onto the mound, from the mound - onto the grass, from the grass - onto the path - and rolled along the path ...

The scenery changes: instead of the silhouette of a house, silhouettes of Christmas trees appear along the edges of the screen.

Leading. A bun rolls along the road, and a hare meets it.

The hare jumps out.

Hare (boastfully) .

Gingerbread man (surprised). Don't eat me, slanted bunny! I'll sing you a song:

Scraped by the twigs, I left my grandmother.

Mixed on sour cream, It’s not cunning to get away from you, a hare.

planted in the oven,

Leader (fun). And the bun rolled further - only the hare saw it.

The gingerbread man rolls past the hare, who is trying to catch up with him, then disappears.

Leading. A bun rolls, and towards it ...(lowers his voice) the wolf is running.

The wolf and the bun appear in the middle of the screen.

Wolf (confidently). Gingerbread Man, Gingerbread Man, I'll Eat You!

Kolobok (carelessly). Do not eat me, wolf, I will sing a song for you.

Children sing along to the kolobok, as if teasing the wolf.

Kolobok.

I'm a bun, a bun! It's cold on the window.

Meten on the barn, I left my grandfather,

In the stove, fathom, From you, the wolf, do not cunningly leave.

Leading. And the bun rolled, only the wolf saw it. A bun rolls, and towards it ...(lowering voice) bear.

The bear comes out, waddling, and stops in front of the bun.

Bear (terribly). Gingerbread Man, Gingerbread Man, I'll Eat You!

Gingerbread man (confidently). Where are you, clubfoot, to eat me!(Sings with children.)

I'm a bun, a bun! It's cold on the window.

Meten on the barn, I left my grandfather,

Scraped by the bowels, I left my grandmother,

Mixed on sour cream, I left the hare,

Sazhen in the oven, I left the wolf,

From you, bear, half grief to leave.

Leading. And the bun rolled again, only the bear saw it. A bun rolls, rolls, and a fox meets it.

With a dancing, light gait, the fox approaches the bun.

Fox (sweetly). Hello, kolobok! How beautiful you are!

Leader (joyfully). And the gingerbread man smiled and sang.

Gingerbread man (showing off).

I'm a bun, a bun! I left my grandfather

Meten on the barn, I left my grandmother,

Scraped by the bowels, I left the hare,

Mixed with sour cream, I left the wolf,

Sazhen in the oven, I left the bear,

It's cold on the window. From you, fox, do not cunningly leave.

Fox (excitedly). What a beautiful song! But I got old, oh-ho-ho(pitifully) I can't hear well. Sit on my nose, sing the song louder again.

Host (regretfully). The gingerbread man sat on the fox's muzzle and sang his song.

The gingerbread man appears on the nose of the fox (the wire on which it is raised must be hidden behind the figure of the fox).

Fox (admiringly). Thank you, kolobok, a good song, I would have listened to ... Sit down(slyly) dear, on my tongue and sing to me one more time!

The gingerbread man rolls onto the fox's tongue.

Host (angrily). Gingerbread man jumped on the tongue of the fox, and the fox - am - and ate it.(Quickly hides the bun behind the fox.)

Grandfather and woman come out from behind the screen, complain to the children about the stupid naughty kolobok. Baba says that instead of the fugitive she baked a new bun, shows him.

Leading. And which of you children does not obey the elders? Who is bragging? Who rashly behaves when you need to be especially careful?

If you agreed in advance with the chef or parents who baked a real bun, then it's time to treat the artists and spectators: “After all, koloboks are baked for children to eat, grow and get smarter. Tasty? And what was the bun baked from? Find out in the next game."

In the second game, you can pay more attention to what and how the bun is kneaded and baked from.

Depending on the preparedness of the children, regulate your participation and their activity in showing the silhouettes and pronouncing the text by the characters. In the first game, speak and act more on your own, but with the help of children. In the second, help the children to play the game on their own.

Senior group

"Telephone"

(Based on a poem by K. Chukovsky)

Expressive reading of the educator with elements of dramatization of children.

Target. To teach children to be included in the collective dramatization of the work in a timely manner; express the state of the character with the help of facial expressions, voice, intonation; understand the humor of the work; educate interest, respect for animals.

Characters. Leader, elephant, crocodile, hares, monkeys, bear, herons, pig, kangaroo, rhinoceros, gazelles, hippopotamus.

Preparing for the game. Screening of the cartoon "Telephone". Discussing with children the characters of characters that cannot but cause a smile, laughter.

Material. Two phones: one at the teacher, the second - fabulous - in the forest with the animals. Colorful image of characters (on large medallions, or on aprons, or on headbands). A huge "bar of chocolate", gloves, books, galoshes, swings - carousels.

Game progress. The first reading of a fairy tale with elements of dramatization of children should not be carried out completely, but by selecting passages with the characters most known to children. They can be, for example, an elephant, rabbits, bears, monkeys.

To play roles, select those children who know poetry well and can read them expressively. Take on the role of leader.

Place a few children near the fairy phone, and sit down among the rest of the children. There is also a phone on the table in front of you. Review it with the children, invite them to call. But the phones are silent. Suddenly the bell rings (figure out how to do it). Pick up the phone yourself, invite the children to listen. Can not hear anything. “Probably someone can’t get through to them,” you say (if you want, you can repeat the intriguing situation). “It seems to me that they are calling from the forest, on a fabulous phone. Let's wait a little longer, probably something serious has happened and they will call us back.

Your task is to convey to the child all the charm, humor of K. Chukovsky's poems. Therefore, expressively reading them, do not deviate from the text. But don't ask kids to do that. They can express the request of the animals in their own words. As if asking again, repeat the request in the author's verses. Avoid prodding, demands of intonational expressiveness such as: “Not so, say plaintively; listen to what I said." Such direct tricks interrupt the game, destroy the illusion of a fabulous image.

Depending on which character called, use the appropriate part of the poem to support who is next to you. No matter how you hear or understand the request, let the children listen, asking the animals again and again and again to repeat the request. Now all the guys are participating in the game, and even those who do not know the text. Children can hear it for the first time from you, and learn it in repeated games.

Lead ( surprised and happy).My phone rang(picks up the phone). Who is speaking? ( Hearing no answer, offers to listen to the children).

All. Who is speaking? ( They are perplexed.)

Leading. Elephant?

Elephant. Elephant.

Leading. Where?

Elephant. From a camel.

All. What do you need?

Leader (guessing). Chocolate?

Elephant. (pleasantly) Chocolate.

All. For whom? (Listening.) For my son?..my? How about for your son?

Elephant (pleasantly). chocolate.

Elephant ( nodding head affirmatively). For my son.

Leading. How much to send? (Repeats the question. Hearing the answer in the receiver, he looks at the guys in confusion. Conveys the elephant's request.)

Yes, that way five pounds

Or six (shakes his head in surprise)

He won't eat anymore

He has it ( pointing to the elephant still small! ( Draws the contours of the “baby” with his hands, causing laughter in children.)

The host hangs up. Children laugh merrily. Bunnies run up to the fairy phone. They are worried, snatching the phone from each other. One of them manages to dial the number. The leader gets a phone call.

Leading. And then the rabbits called.

All. What do you need?

Bunnies. Can you send gloves?

Leader (to children). Will we send?

All. We will send!

Leading. And then the monkeys called. (He looks questioningly at the children, as if asking: what else might be needed?).

Monkeys. Please send books!

Leading ( To children). Will we send?

All. We will send.

A bear comes to the fairy phone and dials a number. Again, the leader rings.

Leading. And then the bear called

Yes, as he began, as he began to roar!

(Gestures induces the bear to roar. When he growls, he continues.)

Wait, bear don't cry(He helplessly throws up his hands, arousing sympathy in children).

The bear continues to roar.

Leading. But he is only "moo" yes "moo",

And why, why -

I don't understand!

All (very strict.) Please hang up the phone!

For the first time, these three fragments are enough. Children, of course, will want to continue telephone conversations. Have them act out other parts of the poem in their own way or come up with something new.

If you suggest individual stanzas of the poem during the independent game of the guys, they will soon begin to use them themselves.

The second game with elements of dramatization of these fragments will be more lively and with greater activity and independence of children, if you use new fragments of the poem in it and increase the number of characters, say, introduce a crocodile, a kangaroo. Get everything ready for them.

Distribute the roles of animals among those who have not yet participated in the dramatization, using a counting rhyme.

And now, finally, everything is ready for the game. Children are already looking forward to the call with joyful impatience. The animals are crowding around the phone - everyone wants to call first! In the end, the crocodile succeeds. The leader has a call. But since someone else can call, the presenter quickly orients himself and reads the corresponding passage.

Leading. And then called

Crocodile

And with tears asked ...

The host shows the image of galoshes, and the crocodile, as best he can, asks to send him galoshes.

Leading. Listen, children(Hands over the phone to someone.)

Crocodile (with the help of the presenter).

My dear, good

Send me galoshes.

And me, and my wife, and Totosha.

Leader (surprised).

Wait, don't you

Last week

I sent two pairs

Excellent galoshes?

Crocodile (with the help of the children and the leader).

Ah, the ones you sent

Last week,

We have already eaten

And we can't wait

When will you send again

For our dinner

a dozen

New and sweet galoshes!

The leader, together with the children, is surprised at the voracity of the crocodile, but still wants a bunch of galoshes for him. The phone rings again.

Leading. And another bear...

What? Save the walrus?!

(To the children, confidentially.)

Yesterday he swallowed a sea urchin!

The phone rings.

Leading. And yesterday morning

Kangaroo…

Listen, children(holds out the phone to the guys).

Kangaroo. Isn't this an apartment?

Moidodyr?

Leading. I got angry and screamed:

No! This is a different apartment!

Kangaroo. Where is Moidodyr?

Leading. I can't tell you...

Call number one hundred twenty-five.

And such rubbish

All day…

All. Ding-dee laziness

Ding-dee laziness.

The host passes the phone to the children for independent play.

In the third game, use the entire poem. Let the roles of animals be performed by those who did not participate in previous games. Think about how to show the scene with the drowning hippo.

After a short preparation, take a break. Children, dying with impatience, are waiting for a call. But the call is not heard. Then ask them a riddle: "I will turn the magic circle - and a friend will hear me."(Telephone.)

Finally the bell rang. You pick up the phone, put it to your ear.

Leading. And recently two gazelles

Called and sang...

Leader and gazelles. Really

Indeed

All burned out

Carousels?

All. Ah, are you wise, gazelles?

The carousels didn't burn down

And the swing survived!

You would, gazelles, not clamor,

And next week

Would jump and sit

On the swings!

Leading. But they did not listen to the gazelles

And still roared ...

Gazelle. Really

Indeed

All swings

Got burned?

All. What stupid gazelles!

The host shows the children how the dolls swing on the swing, the animals spin on the carousels.

Leading. I didn't sleep for three nights.

I'm tired.

I would like to sleep

Relax…

But as soon as I lay down -

Call! (Call.)

Who is speaking?

Rhinoceros?

What's happened?

Rhinoceros. Trouble! Trouble!

Run here quickly!

Leading. What's the matter?

All. Save!

Leading. Whom?

All. Behemoth!

Our hippo fell into the swamp...

Lead and Rhino(to children).

Oh if you don't come

He will drown, drown in the swamp.

Dies, disappears

Hippopotamus!!!

Leader and children. OK! I'm running! I'm running!

If I can, I will help!

All ( pulling out a hippopotamus).

Oh, it's not an easy job -

Drag a hippopotamus out of the swamp!

Two greedy bear cubs.

(based on the Hungarian fairy tale, processed by A. Krasnov and V. Vazhdaev)

Shadow play.

Target. Continue to develop interest in fiction. To teach to notice and understand various means of expression - epithets, comparisons, etc .; recognize in silhouettes and shadows the characteristic images of characters; evaluate heroes - cunning, greedy, stupid, gullible; empathize with the characters, tell them how to behave in difficult cases.

Characters. Host, she-bear, two cubs, fox.

Material. Screen and lighting, silhouettes of characters and scenery for the theater: tall spruces, a bear, cubs - small, slightly grown up (in two versions - separately and fighting over a head of cheese), a fox with a large and small piece of cheese (they can be cut out of paper, you need to make several flat pieces of different sizes).

For musical arrangement, the following recordings are needed: “Hungarian Folk Melody”, arranged by L. Vishkarev; "In the Forest", "Bear" by E. Tilicheeva; “Hares and a Fox” (Fox Part) by G. Finarovsky.

Game progress. For the first time, with the help of riddles and poems, get the children interested in the upcoming performance and at the same time recall the typical features of familiar images: foxes, she-bears, cubs.

Where does he live? Most often,

The most real.

He walks there, he sleeps there,

He raises his children there.

(Bear)

Look at what, everything burns like gold,

He walks in an expensive fur coat, his tail is fluffy and big.

On the subterfuge of a craftswoman. What is her name?...

(Fox)

Tell the children that now they will watch a fairy tale about the simple-hearted bears and the cunning fox. This is a Hungarian folk tale called "Two Greedy Little Bears".

First, take on all the roles. When reading the text, highlight epithets, figurative expressions, accompanying it with a shadow theater show.

Leading. On the other side of the glass mountains, behind a silken meadow, stood an untravelled, unprecedented dense forest, in the very thicket lived an old bear.(Shows it on the screen, at the same time turns on a musical recording corresponding to the image.)She had two sons.(Shows babies, accompanied by other music.)When the cubs grew up(shows new figures of cubs),they decided to go around the world in search of happiness. At first they went to their mother and, as expected, said goodbye to her. The old bear hugged her sons and punished them ...

Bear. Do not offend each other and never part.

Leading. The cubs promised to fulfill their mother's order and set off on their way. They walked, they walked. And the day went, and another went. Finally, they ran out of supplies. And the cubs are hungry. Downcast, they wandered side by side. The little bear cub complained:

Oh, brother, how I want to eat!

The older bear cub answered ... What did he answer, children?

Children: And I want to!

Leading. So they all walked and walked and suddenly found a round head of cheese. They wanted to share it equally, but failed. Greed overcame the cubs: each was afraid that the other would get more. They argued, growled, and suddenly a fox approached them.(Includes her musical part.)

Fox (smartly). What are you arguing about, young people?

Leading. The cubs told her about their trouble. Children, what did they say to the fox?(Listens to the children's answers.)

Fox (joyfully, but cunningly).What a disaster! Let me divide the cheese equally for you: it doesn’t matter to me whether the youngest or the oldest.

Leading. The cubs rejoiced: “That’s good, share it!” The fox took the cheese and broke it into two pieces. But she split the head so that one piece was larger than the other.(Shows, asks the children which piece is larger, which is smaller. Praises them for their observation, says that the cubs also noticed unequal pieces.)

Bear cubs (vying with each other). This one is bigger!

Leading. The fox comforted them.

Fox. Hush, young people! And this trouble is not a problem. Now I'll take care of everything.

Leading. She took a good bite out of most of it and swallowed it. Here's a tricky one! Now the smaller piece is bigger...(Rotates the fox image so that the pieces are swapped, for example, if there was a larger piece in the right hand, then after turning it will be in place of the smaller piece. And in the right hand, the cheese will appear smaller. You can change the size of the cheese by attaching pieces of velvet paper.)

The bear cubs became worried: “And so it’s not even! “The fox calmed them down.

Fox. All right, I know my stuff!

Leading. And she took a big bite. Now the big piece has become smaller. (Turns the image of the fox again and again asks the children to compare the pieces..)

Bear cubs. And so not exactly!

Leading. “May it be to you! - said the fox, with difficulty moving his tongue, as her mouth was full of delicious cheese.

Fox. Just a little more - and it will be equally.

Leading. The fox continued to share the cheese(turns the fox so that you can see which hand now has more cheese, which one has less cheese),and the cubs only with black noses led back and forth - from a larger piece to a smaller one, from a smaller one to a larger one. Until the fox was full, she divided and divided everything. But now the pieces were equal, and the cubs almost had no cheese left: two tiny pieces.

Fox. Well, even if little by little, but equally! Bon appetit, bear cubs!(Giggles, wags his tail and runs away.)

Leading. So it is with those who are greedy! How would you share your cheese? What would the fox say?(Listens to the children's answers.)

But stupid bear cubs need to be fed.(reads a poem by G. Boyko.)

Leading. I took the teddy bear

She sat down at the table.

Children. Help yourself, teddy bears,

Eat honey, good, sweet!

All. And they are sitting

And they don't eat a drop.

Though they love honey

But they can't open their mouths.

At the beginning of the second game, other verses and riddles can be used.

This time encourage the children to speak in their own words for the characters. Invite them to name the cubs by names, and if they want, then let them give names to both the she-bear and the fox. Help them choose names that would express the characteristic features of the characters.

If the guys do not want to play the roles of cunning and greedy characters, come up with new adventures of cubs and foxes with them. For example, bear cubs found honey in a hollow, met a hungry hare, saw a sick fox, returned to a she-bear who was worried about them, etc.

preschool group

Malvina teaches Pinocchio.

(Based on the fairy tale by A. Tolstoy "The Golden Key, or the Adventures of Buratino")

Bibabo puppet theater, finger theater, dramatization.

Target. To give an idea of the school, the work of a teacher, the duties of students, to ridicule the ineptitude, helplessness of Malvina and the negligence of Pinocchio, to oppose them with the diligence of children, respect for the teacher, and on his part a benevolent and demanding attitude towards children, strengthen the desire to learn. Play roles expressively and with humor, actively participate in the preparation of the game, creative acting out of the plot.

Characters. Host, Malvina, Pinocchio, poodle Artemon, moths, birds, etc.

Preparing for the game.Preliminary reading in parts of A. Tolstoy's fairy tale "The Golden Key, or the Adventures of Pinocchio" in kindergarten or at home.

Material. For puppet theater: characters made of paper with devices for putting on fingers or bibabo puppets. Items proportionate to the characters: a school desk, an inkwell, a notebook, a table, dishes, an apple. Moths, birds on long vibrating wire rods. Scenery: bushes and flower beds blooming in the garden. (Children will draw them, and you help them stick the scenery on gauze. The garden will serve as a background in the background when playing breakfast and study scenes.)

For dramatization: a cap and a long nose (Paper Cone) for Pinocchio, blue hair with a bow for Malvina.

Game progress. During the first game, it will be better if you take on all the roles, thus showing examples of their performance. You can also bring in helpers. Surely there will be those who wish among the children. In the future, the guys will successfully play the roles of their favorite characters.

During the performance, the audience should not be passive observers. All of them are active participants in the game: they constantly communicate with the characters, give them advice and can even influence the course of events. The host creates an atmosphere of performance: either he speaks strictly with Pinocchio, then he causes general fun, then he makes the children think, asking them for advice, then he himself explains the rules of conduct. For example, when he sees the confused Malvina and Pinocchio sitting unleashed, he calmly and seriously explains to him how to sit at the table correctly. You can ask the child to do this, whom you are helping to improve posture (“Petya, explain to Pinocchio how to sit at the table”).

In the episode where Pinocchio greedily swallows whole cakes, also ask one of the guys to explain the rules of behavior at the table. It is very important that this scene evokes a cheerful laugh from the children. It largely depends on the skill of the performer of the role.

Since Malvina's method of education should not always be taken as an example to follow, the leader, if necessary, appears from behind the screen and talks affectionately and sympathetically with this "obnoxious boy" so that it becomes clear to everyone how to succeed in education.

So, the puppet theater begins.

The curtain moves apart, and the audience sees a blooming garden. Carefree music sounds, birds chirp, butterflies flutter.

Leading. A girl with blue hair sat in the garden, at a small table covered with doll dishes, and brushed aside annoying butterflies.

Malvina (with annoyance). Yes, you really!

Poodle Artemon, helping Malvina, barks at butterflies, chases after them, making a merry fuss. Pinocchio appears. He is so awkward that it is impossible not to laugh. Pinocchio sits down at the table. His movements are unleashed: an emphatically wrong posture, his leg is tucked under him.

Malvina spreads her hands in bewilderment, as if turning to the children for advice: what to do? The host explains to him how they sit at the table. Pinocchio sits correctly, but soon begins to spin.

Malvina pours cocoa into a tiny cup.

Leader (reproachfully). Pinocchio stuffed almond cakes into his mouth whole and swallowed without chewing. He climbed right into the vase with jam with his fingers and sucked them with pleasure, smacking his lips.

Pinocchio's actions cause laughter in children. Malvina is upset. The host patiently explains to Pinocchio how they eat cakes and jam.

Host (regretfully). When Malvina turned away to throw a few crumbs to the elderly ground beetle, Pinocchio grabbed the coffee pot and drank all the cocoa from the spout. He choked and spilled cocoa on the tablecloth.

Malvina (strictly). Pull your leg out from under you and lower it under the table. Children, he has already forgotten your advice.(More abruptly.) Don't eat with your hands, that's what spoons and forks are for, right, kids?(He flaps his eyelashes in indignation, speaks very irritably, unkindly.)Who educates you, please tell me?

Pinocchio. When dad Carlo brings up, and when no one.

Malvina (threateningly). Now I will take care of your education, be calm.

Pinocchio (in despair). That's how it got.

Leading. Children, think, maybe we will invite Bkratino to visit our kindergarten? Is your teacher kind, does she love you? Do you feel sorry for Pinocchio? I where could he learn all that requires Malvina? He hasn't gone to school yet!

On the grass around the house, the poodle Artemon rushes after small birds.

Pinocchio is watching him with envy: he is great at chasing birds! Makes an attempt to get out from behind the table.

Leader (sympathetically). From a decent sitting at the table, goosebumps crawled all over his body. At last the painful breakfast was over.

Malvina. And now we are going to educate.(Clears the tea table, puts down the blackboard and desk.)Now sit down with your hands in front of you. Don't be hunched over.(Picks up a piece of chalk.)We'll do the arithmetic. You have two apples in your pocket.

Pinocchio. You're lying, none.

Malvina (patiently). I say, let's say you have two apples in your pocket.

Pinocchio (foolishly). Haha!

Malvina. Someone took one apple from you. How many apples do you have left?

Pinocchio (confidently). Two.

Malvina (pleasantly). Think well.

Pinocchio (without hesitation). Two.

Malvina (with surprise). Why?

Pinocchio (resolutely). I won’t give apples to anyone, even if he fights!

Malvina (disappointedly). You don't have any aptitude for mathematics.

Leading. Children why Pinocchio failed to solve such a simple problem? Right. He was thinking about apples, not about subtraction. Because he never ate them. What did poor dad Carlo give his wooden son for breakfast? Bitter bulb. Maybe we can treat Pinocchio with apples?

Pinocchio thanks the guys and cunningly eats an apple.

Leading. Think of a task for him now.

Children come up with, Pinocchio decides.

Malvina is amazed by his success.

Malvina. Let's take a dictation. Write: "And the rose fell on the paw of Azor." Have you written? Now read this magic phrase in reverse.

Leading. But Pinocchio has never seen a pen and an inkwell!

Malvina. Write.

Pinocchio immediately sticks his nose into the inkwell and is terribly frightened when an ink blot falls from his nose onto the paper.

Malvina clasps her hands, she even has tears. She is in despair.

Malvina (sharply). You nasty rascal, you should be punished! Artemon, take Pinocchio to the dark closet!

Leading. The noble Artemon appeared, showing white teeth. He grabbed Pinocchio by the jacket and, backing away, dragged him into the closet, where large spiders hung in the corners in the cobwebs.

Children, you probably feel sorry for Pinocchio? What about Malvina? Why can't she teach him, and why does he willingly learn from you?(Children's answers.)

Yes, and Malvina herself was upset, because she is not an evil girl. (Points to crying doll.)Calm down, Malvina, call Pinocchio from the closet with the children.

Malvina calls Pinocchio. An angry Pinocchio appears.

Pinocchio. Found a teacher, think. She has a porcelain head, her body is stuffed with cotton.

Leading. Calm down, Pinocchio, no need to quarrel. Better come with Malvina to the children for classes in literacy and mathematics. Our teacher will quickly teach you everything!

The repetition of the game is best done as a dramatization. Be sure to use new situations in them so that children apply their knowledge of the culture of behavior in practice. You can offer them a variety of tasks in mathematics, their native language.

All theatrical games can be divided into two main groups: dramatization and directorial. In games - dramatizations, the child, playing the role as an "artist", independently creates an image with the help of a complex of means of expression.

The types of dramatization are: games - imitations of images of animals, people, literary characters. Dramatization games are role-playing dialogues based on text. But in the director's game, "artists" are toys or their deputies, and the child, organizing activities as a "screenwriter and director", controls the "artists". "Voicing" the characters and commenting on the plot, he uses different means of expression.

The types of director's games are determined in accordance with the variety of theaters used in kindergarten: tabletop, flat and three-dimensional, shadow puppet, finger, etc. In order to develop the independence and creativity of children in the process of theatrical activities, it is necessary to highlight several conditions:

Enriching the environment with the attributes of theatrical activities and the free development of this environment by children (a mini theater, which is periodically replenished with new attributes and decorations);

the content of games should correspond to the interests and abilities of children;
meaningful communication between the teacher and children;
the theatrical and gaming environment should be dynamically changing, and children take part in its creation;
teaching children expressive means of theatrical activity:

facial expressions- tells us without words about certain feelings and moods of a person, that is, when a person expresses any emotions.

Gestures– dynamic movement of the body: arms, legs, head, etc., as well as posture.

Pantomime- facial expressions combined with gestures.

IN younger preschool age the teacher creates the conditions for individual director's games by saturating the subject-play environment with small figurative toys (dolls, nesting dolls, animals, technical toys, constructors, furniture, etc.). The participation of the teacher in individual director's games is manifested in playing out everyday and fairy-tale situations (from nursery rhymes, works by V. Berestov, E. Blaginina, etc.), showing the use of role-playing speech, onomatopoeia, drawing the child into the game, suggesting replicas, explaining actions.

IN middle group the teacher creates conditions for collective directorial games. In the subject-play environment, in addition to figurative toys, there should be a variety of waste material (boards, coils, unbreakable bubbles, etc.), which contributes to the development of imagination, the ability to act with substitute objects. When organizing directorial games, the teacher takes the position of an assistant: he asks the child to explain the meaning of actions, encourages him to role-play ("What did he say?", "Where did he go?"), sometimes acting as a carrier of game skills, showing fantastic stories with the help of toys and substitute objects, which helps the child to engage in such activities.

senior preschool age - the heyday of the director's game, which becomes a full-fledged joint activity. The content of the games are fantastic stories in which reality is intertwined with events from cartoons and books. The subject-play environment for director's games is constructed on the basis of multifunctional game material (map-layout of the game space). Its use helps the child to invent and act out the events that make up the plot outline, to imagine the plot situation even before it is played out, and then to concretize in the process of directing the game, filling it with game events. The closeness of the structure of the play and fairy plot makes it possible to use a literary fairy tale as a basis for the development of plot construction.

In each age group, it is desirable to have a corner for theatrical performances, performances. They allocate space for director's games with finger, table, poster theater, theater of balls and cubes, costumes, on mittens. In the corner are:

various types of theaters: bibabo, tabletop, puppet, flannelograph theater, etc.;
props for acting out scenes and performances: a set of puppets, puppet theater screens, costumes, costume elements, masks;
attributes for various game positions: theatrical props, makeup, scenery, director's chair, scripts, books, samples of musical works, seats for spectators, posters, cash desk, tickets, pencils, paints, glue, types of paper, natural material.

Classification of theatrical games

In children younger preschool age the primary development of the director's theatrical game is noted through:

tabletop toy theatre;
table plane theater;
planar theater on flannelgraph;
finger theatre.

Aged 4-5 years the child masters different types of table theater:

soft toys;
wooden theater;
cone theatre;
theater of folk toys;
planar figures;
theater of spoons;
theater of riding puppets (without a screen, and by the end of the academic year - with a screen), etc.

IN senior and preparatory age groups , children can be introduced to puppets, the theater of the "living hand", the shawl theater, people - puppets.

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Book for kindergarten teachers

Theatrical games for preschoolers

L.V. Artemova

BBK 74.100.57 A86

Reviewer: methodologist for preschool education of the Leningrad city

IUUL.A. Minkovich

Artemova L.V.

A86 Theatrical games for preschoolers: Book. for the teacher of children garden.--M.: Enlightenment, 1991.-- 127 p.; ill.

ISBN 5-09-001627-5.

The book reveals the methodology for organizing and conducting dramatization games in kindergarten, as well as table, shadow and finger theater.

The book can be used not only by educators, but also by parents.

ISBN 5-09-001627-5

children's theatrical play garden

Theatrical games. What is this?

Why are theatrical games good?

How to develop and educate children in the game?

Second junior group

middle group

Senior group

preschool group

Participating in theatrical games, children get acquainted with the world around them through images, colors, sounds. The great and versatile influence of theatrical games on the personality of the child makes it possible to use them as a strong, but unobtrusive pedagogical tool, because the child feels relaxed and free during the game.

Laughter and joy are inherent in childhood, inseparable from it. The child likes to play, especially with peers. But look at the kids playing on their own. Their faces are tense, serious, no smiles are seen, no laughter is heard. Yes, and not surprising. After all, children in the game imitate adults. How do they see us? Always preoccupied, in a hurry, busy with business - responsible, important, necessary people.

It is known that the game is a serious matter, but also a fun one. But how many pedagogical works do we find that recommend developing a sense of humor? Paradoxical as it may seem, humor occupies an insignificant place in preschool pedagogy, and it is only thanks to our masters of the artistic word that it has not completely disappeared. If it were not for, say, K. Chukovsky, S. Marshak, humor, a mischievous joke would only be with those children who were lucky to have a cheerful teacher and parents. True, humor sometimes visits our children during holidays, entertainment held in kindergarten, as well as in specially prepared classes. But not everyone can organize such an activity, captivate children. Isn't that why it's so boring in kindergartens, where random people work as educators or those who have chosen a profession for themselves without objectively evaluating their capabilities?

The dramatized games contained in this book will help the educator who loves his children to create a joyful, relaxed atmosphere in the group. What do we know about theater

bathroom games? Apparently, they are named so for their proximity to theatrical performance. Spectacle always causes joy, and the fabulousness of the images enhances the attractiveness of the game. The mechanisms of the impact of theatrical games on children, the nature of their influence on emotions, are not yet clear. There is little research in this area that could serve as the basis for practical developments.

This book is presented as a quest open to all who wish to participate. Ideas are proposed that are embodied in practical developments. I hope that creatively working educators will enrich them with their own findings.

THEATER GAMES. WHAT IS THIS?

The well-known classifications of theatrical games do not take into account their main essence - the means of representation used by the participants in the game. I would distinguish between theatrical games depending on these leading ways of emotional expression, through which they play out a theme, a plot.

I propose to divide all theatrical games into two main groups: director's games and dramatization games.

To the director's games in the Danish garden, I would include a table, shadow theater, theater on a flannelograph. Here the child or the adult is not the protagonist himself, he creates the scenes, plays the role of a toy character - voluminous or planar. He acts for him, depicts him with intonation, facial expressions. The child's pantomime is limited. After all, he acts as a fixed or inactive figure, a toy.

Dramatizations are based on the performer's own actions, which may use bibabo puppets or characters worn on fingers. In this case, a child or an adult plays himself, mainly using his means of expression - intonation, facial expressions, pantomime.

Varieties of director's games

Board theatrical games

Tabletop toy theater(color tab. 1--8). In this theater, a wide variety of toys are used - factory-made and home-made, from natural and any other material. Here, fantasy is not limited, the main thing is that toys and crafts stand steadily on the table and do not interfere with movement.

Tabletop Picture Theater(color tab. 9--20). All pictures - characters and scenery - do not forget to make double-sided, as turns are inevitable, and in order for the figures not to fall, supports are needed, which can be of the most diverse, but always sufficiently stable. This is ensured by the correct ratio of the weight or area of support to the height of the picture. The higher the picture, the more or more weighty the area of \u200b\u200bsupport is needed.

Characters before the start of the game is best hidden. Their appearance in the course of action creates an element of surprise, arouses the interest of children.

In order to create an idea of the scene, use scenery elements: two or three trees are a forest, green cloth or paper on the table is a lawn, a blue ribbon is a stream. Do not spend a lot of time on such preparations and involve children in them, teach them to fantasize, come up with new original details for the scenery - and then everyone will become interested.

Poster theatrical games

Stand-book(color table 13). Dynamics, the sequence of events is easy to depict with the help of successive illustrations. For games like traveling, it is convenient to use a stand-book. Attach it to the bottom of the board. On the top, place the transport on which the trip will take place. In the course of the trip, the host (first the teacher, and then the child), turning over the sheets of the stand-book, demonstrates various plots depicting events and meetings that take place on the way. You can also illustrate episodes from the life of a kindergarten if each page shows a new regime process.

flannelgraph(color tab. 14--20). Pictures are good to show on the screen. They are held together by flannel, which covers the screen and the reverse side of the picture. Instead of flannel, pieces of sandpaper or velvet paper can also be glued onto the pictures. Pick up drawings with the children from old books, magazines, and you can finish the missing ones. It makes the kids happy. Use natural materials as well.

Screens of various shapes allow you to create "live" pictures that are convenient to show to the whole group of children. On prism screens, all the guys can work in pairs at the same time during classes. The scenes on the screens are different, and children will be able to see the variety of options for depicting the same topic.

This type of game makes it easy to depict mass scenes, such as "Air Parade", "Bird Flight", "Space Rocket Launch", etc.

shadow theater(color tab. 21--22). Here you need a screen made of translucent paper, expressively carved black plane characters and a bright light source behind them, thanks to which the characters cast shadows on the screen. Very interesting images are obtained with the help of fingers. For example, you can make a goose, a hare, a barking dog, an angry turkey, fighting boxers, etc. Just remember to accompany the display with the appropriate sound.

To show a scene with several characters at the same time, set a bar at the bottom of the screen on which you can strengthen the figure. For example, the grandfather pulls the turnip first. Strengthen his figure on the bar and display the headstock, etc. Place the figures near the screen so that the shadows are clear. Position yourself below or to the side of the screen so that your shadow does not fall on it.

Shadow theater is good to use during leisure hours.

Varieties of dramatization games

Participating in dramatization games, the child, as it were, enters into the image, reincarnates into it, lives its life. This is perhaps the most difficult performance, since it does not rely on any materialized pattern.

An attribute is a sign of a character that symbolizes its typical properties. For example, a characteristic mask of an animal cut out of paper, a cap, an apron (elements of work clothes), a kokoshnik, a wreath, a belt (elements of a national dress), etc., the child puts on himself. He must create the image himself - with the help of intonation, facial expressions, gestures, movements.

If you don't have a complete costume to play the role, don't bother yourself or others to make one. Ask the children which feature of the character is most typical. Using it, make an emblem by which everyone will immediately recognize the depicted hero. Convince the children that the main thing is how they perform their roles - whether it looks like it or not. At the same time, do not require great accuracy of performance, you do not need to spoil the mood of children during the game. The skill will come gradually - after repeated role-playing and observation of peers.

Dramatization games with fingers(color tab. 30--31). The child puts attributes on his fingers, but, as in dramatization, he himself acts for the character whose image is on his hand. In the course of the action, the child moves one or all of his fingers, pronouncing the text, moving his hand behind the screen. You can do without a screen and depict actions, moving freely around the room.

Finger theater is good when you need to show several characters at the same time. For example, in the fairy tale "Turnip" new characters appear one after another. Such a performance can be shown by one child with the help of his fingers. The tales “A Goat and Seven Kids”, “Twelve Months”, “Malchish-Ki-Balchish”, “Geese-Swans” and others with many characters can show two or three children who are located behind a screen. Showing such fairy tales with mass scenes is possible thanks to finger attributes.

Dramatization games with bibabo dolls(color tab. 23--24).

In these games, a doll is put on the fingers of the hand. The movements of her head, arms, torso are carried out with the help of movements of the fingers, hands.

Improvisation

In these games, a doll is put on the fingers of the hand. The movements of her head, arms, torso are carried out with the help of the movements of MILES, the hand.

Bibabo dolls usually operate on a screen behind which the driver is hiding. But when the game is familiar or the children themselves drive the dolls, that is, the moment of mystery has disappeared, then the drivers can go out to the audience, communicate with them, give them something, take someone by the hand, involve them in the game, etc. Such an “exposure” does not reduce, but rather raises the interest and activity of the guys.

When children see an adult play with bibabo dolls, they will most likely also want to learn how to drive them themselves. If the doll is large for a child's hand, then two fingers can be inserted into the head instead of one. Shorten the doll's sleeves so that the children's fingers fit into the chucks of the hands. You can make dolls for children's hands. For this, well-preserved parts from old broken toys, soft animals will come in handy. Dress them up and make up for the role you want. Show the children how the doll should move, how to move it along the screen.

Improvisation- playing a theme, plot without prior preparation - perhaps the most difficult, but also the most interesting game. All previous types of theater are being prepared for it. And yet, the children will be at a loss if you suddenly invite them to play this or that scene. Prepare them for this - come up with a theme together, discuss how to portray it, what roles will be, characteristic episodes.

Children rarely participate in the preparation of attributes, scenery for the performance. Most often, they are offered ready-made costumes, which, of course, pleases the guys, but at the same time fetters their independence and creativity. Without denying the theme of ready-made scenarios, I would like to show in this book how they can be used creatively in theatrical games, so that children have the opportunity to independently improvise on topics taken from life (a funny incident, an interesting event, a good deed). It is useful to find different options for the development of each topic, as if in perspective to see the results of your deeds, actions, etc.

The creative and independent development of the theme, the search for different options for its solution is also facilitated by a reasonable combination in one game of visual means inherent in different games. This allows children to use all the ways of depiction known to them.

For the first time the game is best played on the flannelgraph. It allows you to freely simulate and simultaneously capture various situations. The desktop theater of toys and pictures also has the same properties. In addition, it is convenient to simulate the movement of cars, pedestrians, animals and other characters in it.

It is more difficult to play with bibabo dolls if you have little knowledge of their driving technique. They must constantly move, as if alive, they cannot be fixed on a plane, a table. But with them you can create many funny scenes and use the same dolls in repeated games, constantly maintaining the children's interest in them.

All of the listed types of theatrical games require directing and pronunciation of remarks. Here, expressive intonations are also necessary, typical for a certain image, characterizing his actions and behavior, and appropriate facial expressions that complement the play of the voice. The image of the behavior of the characters becomes more complicated in the dramatization game. Pantomime becomes the leading visual means here. The image is born from the actions of the character, facial expressions, intonations and the content of the replicas. All this gives room for creative transformation of a familiar plot.

When playing out plots in such a sequence as suggested in the book, the independent play of children is facilitated and conditions are created for the creative solution of the same topic, since each previous game becomes a step for the next. Want to try? You might not be worse off. Don't be upset if there aren't enough attributes, and don't delay the game. After all, you can adapt any available material to its plot. All it takes is a little imagination.

Think with your children about how best to combine attributes and image methods used in different types of games in one game. After all, the same plot can be played out on a flannelograph, with the help of table theater toys, and by other means. Opportunities for creativity of children and adults are not limited here. With the help of adults, preschoolers are able to make the simplest attributes, decorations that would emphasize the characteristic features of a character or scene of action.

WHAT IS GOODTHEATER GAMES?

Theatrical games always delight, often make children laugh, enjoy their unchanging love. For what? Children see the world around them through images, colors, sounds. Kids laugh when the characters laugh, they feel sad, upset with them, they can cry over the failures of their favorite hero, they are always ready to help him.

The theme and content of theatrical games have a moral orientation, which is contained in every fairy tale, literary work and should find a place in impromptu productions. These are friendship, responsiveness, kindness, honesty, courage... Favorite heroes become role models. The child begins to identify with the beloved image. The ability for such identification makes it possible to influence children through the images of a theatrical game. With pleasure, transforming into a favorite image, the baby voluntarily accepts and appropriates his characteristic features. Independent role-playing by children makes it possible to form the experience of moral behavior, the ability to act in accordance with moral standards. Such is the impact on preschoolers of both positive and negative images.

Since positive qualities are encouraged and negative ones are condemned, children in most cases want to imitate kind, honest characters. And the approval of worthy deeds by adults creates a sense of satisfaction in them, which serves as an incentive to further control their behavior.

But many themes and plots involve struggle, the opposition of good and evil through the emotional characterization of positive and negative characters. Children, along with positive characters, can imitate negative ones, which happens quite often. In theatrical games, the problem of the influence of a negative character is more complicated than in the usual reading of a literary work. There are two questions: to whom and how

portray a negative character? What are the consequences of its influence? Of particular importance is the reaction of the audience. It is very important that they condemn the bad deed, express a negative attitude towards the character who committed it.

A negative image will lose its attractiveness, and hence its influence, if it is presented in such a way as to cause universal laughter and condemnation. But preschoolers are unlikely to be able to achieve the level of expressiveness necessary for this purpose. For example, to convey the features of evil, cunning, greedy characters with enough irony is grotesque. Their execution may not cause aversion to the immoral, but on the contrary, it may encourage imitation. In addition, there are not always those who want to play an unattractive character, since many smart children immediately refuse such a role.

But sometimes it also happens like this: the desire to actively participate in the game pushes the child to perform any, even a negative role. To attract the attention of his peers to himself, he is ready to make them laugh like a fool. So gradually the image seems to “stick” to the child, and in the end it begins to cause ridicule.

Apparently, it is better for the educator to play negative roles with the help of various puppets. Make sure that their appearance is repulsive. Negative characteristics can be supplemented with intonation. Move the puppets and speak up for them in a way that will elicit an active reaction from the children. For example, let them arrange all sorts of obstacles for the wolf on his way to the house where Little Red Riding Hood's grandmother lives.

Another problem of the negative character is the consequences of his actions: the wolf suffered because of his bloodthirstiness ("Little Red Riding Hood"), Sloth - for rudeness, greed, impudence ("Twelve Months"). But maybe sometimes you should resort to the technique of creatively changing the ending, especially if it is tragic. Negative heroes can be re-educated with the active participation of children. Just once give them such a thought, an example - and you will see how they will do good deeds.

At the same time, it is necessary to teach children to objectively evaluate their actions and not just imitate the positive, but also control their behavior (see the game based on the poem by V. Mayakovsky “What is good and what is bad”, the improvisation “Know yourself”). However, it is not necessary to focus the attention of peers on this, to sharpen the always painful moment of self-criticism.

Each image created by a child is unique. It merges his characteristic features with the characteristics of the personality of the baby, his manner of holding himself, expressing himself. If they do not match, the children-viewers, by their remarks, tell the "artist" how he should play the role in order to resemble the character even more. Thus, the child imperceptibly for himself, as it were, appropriates the positive qualities of the character.

The great and versatile influence of theatrical games

on the personality of the child allows them to be used as a strong, but unobtrusive pedagogical tool, since the child himself experiences pleasure and joy. The educational possibilities of theatrical games are enhanced by the fact that their subject matter is practically unlimited. It can meet the diverse interests of children.

Theatrical games allow solving many tasks of the kindergarten program: from familiarization with social phenomena, the formation of elementary mathematical representations to physical improvement. The variety of themes, means of depiction, the emotionality of theatrical games make it possible to use them for the comprehensive education of the individual.

A figurative, vivid image of social reality, natural phenomena introduces children to the world around them in all its diversity. And skillfully posed questions encourage them to think, analyze rather complex situations, draw conclusions and generalizations. Improving speech is closely related to mental development. In the process of working on the expressiveness of the characters' replicas, their own statements, the child's vocabulary is imperceptibly activated, the sound side of speech is being improved. A new role, especially the dialogue of characters, puts the baby in front of the need to speak clearly, clearly, understandably. His dialogic speech, its grammatical structure improves, he begins to actively use the dictionary, which, in turn, is also replenished.

The artistic expressiveness of the images, the comicality of the characters enhance the impression of their statements, actions, events in which they participate.

If children create conditions for independent theatrical games, they will be able to imitate game images by communicating with each other. During the preparation and performance of the performance, you should always talk to children politely and affectionately. Make sure that they treat each other in the same way, help, show perseverance, patience in reality.

The tasteful design of the performance has an aesthetic impact on children. The active participation of children in the preparation of attributes, scenery develops their taste, brings up a sense of beauty. The aesthetic impact of theatrical games can be even deeper: admiration for the beautiful and disgust for the negative cause moral and aesthetic experiences, which, in turn, create the appropriate mood, emotional upsurge, and increase the vitality of the children. In this sense, theatrical games are equated to outdoor games, since the children in them are not so much spectators as active participants.

HOW TO DEVELOP AND EDUCATE CHILDREN IN THE GAME?

For this, first of all, the proper organization of theatrical games is necessary. Its main requirements are:

the constant, daily inclusion of theatrical games in all forms of organization of the pedagogical process, which makes them as necessary for children as role-playing games;

maximum activity of children at all stages of preparation and conduct of games;

cooperation of children with each other and with adults at all stages of organizing a theatrical game.

The sequence and complication of the content of topics and plots chosen for games are determined by the requirements of the education program for each age group of the kindergarten. The creative development of the theme begins with the preparation of a game script based on the plot of a literary work: a fairy tale, a story, a poem. Next, improvisation of children on a given or chosen topic is expected.

Questions may arise: how and when to acquaint the children with the content of the script? How independent and creative will the game be if the children know the text of the work well? Maybe it's better to offer them unfamiliar text? A well-known and, in general, quite justified recommendation - reading the work before the start of the game - requires discussion and clarification. Reading becomes understandable if it is well illustrated. For this purpose, it is best to show “live” pictures on a flannelgraph or on a table, or you can use a toy theater or bibabo dolls. Thus, visual images are simultaneously created, ways of their emotional expressiveness and play are demonstrated.

At first, it is better for the educator-leader to read the text himself, involving children in pronouncing its individual fragments. In repeated games, the activity of the children increases as they master the content of the text. Never demand its literal reproduction. If necessary, easily correct the child and, without delay, play on. In the future, when the text is well understood, encourage the accuracy of its presentation. This is important so as not to lose the author's findings. When reading poetic texts, connect children to the game if possible. Let them actively participate in a dialogue with you, play along with the main storyline, imitate the movements, voices, intonations of the characters in the game.

It is difficult for the educator to learn a lot of poems, texts of various theatrical games. You can record them on magnetic tape. Tape recording allows you to save the means of artistic expression of the text, figurative expressions of the author. But don't rely entirely on the recording. As much as you can, learn the texts yourself. After all, reading a work should be combined with facial expressions. In addition, you can use poems every day when communicating with children. For example, while washing toys - "For a long, long time she washed and caressed them."

Before teaching children the means of expression, check whether you yourself are ready for this. For example, with how many different intonations can you say the words “hello”, “help”, “take”, “listen”, etc., so familiar to everyone? Try to change the meaning of the phrase several times by rearranging the logical stress (each time on a different word): “Here is my doll”, “Give me the ball”. Well, you certainly know how to read a fairy tale, changing your voice depending on the character, say, speaking either as Little Red Riding Hood or as a wolf. You can convincingly express fear, compassion, complaint, request while reading K. Chukovsky's poem "Doctor Aibolit" or any other. Challenge yourself before speaking to children. Do not forget that the intonations of your voice are models for them. The understanding of a fairy tale, verse, story, and its emotional, moral impact on children, and the expressiveness of their statements depend on how flexible and consciously you emphasize the meaning of the work with intonation, characterize the images.

So, your speech in everyday communication, reading, recitation, theatrical games that you initially lead yourself serve as the first role models.

Next - small exercises with children. They should start with the younger group. It is better to conduct it immediately after the end of the theatrical game. Children are delighted with how you drove the characters, as they said, acted for them. It's time to invite them to play the same way. For exercises, use the statements of the characters that have just spoken. For example, in the fairy tale "Mitten" you need to ask for a mitten, like a mouse and like a wolf. As a rule, there are many people who want to speak and listen. Complicate the exercise - let several mice take turns asking for a house. Who can say more plaintively? And then they - for the wolf. Who looks more like? The rest, of course, are burning with impatience, wanting to speak. Let everyone do it. But first, announce a competition - who is better? The winner is applause.

but, affably, benevolently, carelessly, sullenly); "goodbye" (with regret, chagrin or hope for a quick meeting); “give” (confidently, politely, impatiently, offendedly, asking); “take” (carelessly, reluctantly, affably, with a desire to please), etc.

Choose a quatrain and read it to the children with different intonations. Ask them to repeat, or maybe find new intonation options, for example: surprised / mocking, bewildered, sad, cheerful, compassionate. Say the phrase, putting the stress on a new word each time. For example: “Don't forget to feed the fish”, “I love my sister”, etc. Pay attention to how the meaning of the phrase changes depending on the stressed word. Be sure to continue to exercise them on fragments from theatrical games, for example, “Grandfather planted a turnip”, “And Fedor became kinder”, etc.

In a circle of children, sit a child in front of you, give him a character in his hands, take another one for yourself. Carry on a dialogue, involving your partner in it, so as to evoke intonations of surprise, objection, joyful amazement, etc. For example, take a cube for yourself, give your child a ball.

Educator:

What do you have?

No, look carefully.

No, not a ball, but a cube.

Yes, cube, cube!

Indeed? But what?

Is it a ball?

I see a ball.

No, not a cube, not a cube!

Ball, ball...

Yes, that's the ball!

Trade toys for fairy tale characters and invite other children to argue.

Such exercises also develop pantomimic means of expression. For example, you can ask the children: “Who walked along the path (on the bridge)?” Invite them to choose a character (wolf, fox, hare, mouse). Without naming him, you need to make a riddle about him by imitating his movements. Children guess who walked along the path. Or another exercise: everyone who wants to choose the role of any famous character, but keep their plan a secret. They depict him in various tasks that you come up with, say, to demonstrate a walk, search for food, meeting guests, asking to be allowed into the house, running in a competition, the ability to sneak up unnoticed, catching birds, insects, dodging from pursuers, etc.

The music helps convey the character's character. For example, in music lessons, you can encourage children to imitate the movements of various characters with a melody. For example, after listening to the song "Cockerel" by V. Vitlin, depict how the cockerel sings when he fell ill and when he recovered.

While the children are doing the task, you, along with the rest of the children, carefully watch and note the features of the game of each "actor", involve the children in finding their own ways of showing. In the future, be sure to include such fragments in theatrical games in order to find practical use for them.

Each game requires its own means of expression and creative finds. Therefore, we directly included many methodological techniques in the description of game plots. Your task is to find new, more interesting and perfect ones.

SECOND JUNIOR GROUP

By N. Zabila

TABLE THEATER

The purpose of the game. To encourage the desire of children to create a playful environment, to teach them to perform playful actions related to a simple plot close to their life experience. Involve children in the performance of funny and instructive episodes.

Characters. Host, Yasha.

Preparing for the game. Show the children the filmstrip "Yasochkin's Garden" (author N. Zabila, artist E. Afanasyeva). Ask them to pick up everything you need for the game "Kindergarten".

Material. On a separate table under the cape there are proportional toys: a Lyalya doll, a bear cub, a horse, a puppy, a kitten, materials for building a house, sweets, pies, books, cubes, a primer, rugs or cribs. Two or three shifted tables are nearby, they will gradually accommodate Yasochkin kindergarten.

Game progress. In the first show of the table theater, introduce the children to Yasya (it is desirable that this be a new large doll). Invite the children to make friends with her, listen to her story about how she was lonely at home when her mother left for work, how she tried not to be bored, how she wanted to go to kindergarten. This time, you will most likely need to read the text not only for the host, but also for the Yasya doll, imitating the voice of a little girl. But try to involve the child in this role. Perhaps in your group there will be such a smart girl who, with a little help from you, will be able to play the role of Yasha the first time.

Leading. Outside the window today the wind, the wind,

Even in the house you can hear how

Everyone has gone to kindergarten

Only Yasya is sitting in the room.

Our Yasya is coughing

a little --

I caught a cold outside yesterday.

(Imitates Yasa.)

That's right, Yasya got her feet wet

Where the women sculpted the children.

(Wipes the doll's nose with a handkerchief.)

Mom is gone and dad is at work.

There is silence in Yasochkin's house.

Do you think Yasya will cry?

Are you bored in the room alone?

(Mimicry encourages children to answer.)

Well, I do not! Why cry

(Removes the cape from the toys, allows the children to examine them.)

She has toys over there.

Sat down to them, the game took up:

She will have her own kindergarten.

(In the course of further reading, the facilitator invites the children to take one or another toy and bring it to Yasa in kindergarten.)

Came to kindergarten

furry bear,

Lyalya doll and a big horse

And another funny naughty -

Long-eared little puppy.

And the kitten was recorded by Yasya,

But the kitten scurried under

Yasya. Naughty, stupid

cat Vasya.

I won't take you anymore

(Shakes his finger jokingly.)

Leading. The kids sat in the corner. What a meek kid! Something the bear's paws are dirty. He, lazy, did not wash them in the morning. (Offers someone to wash the slut's paws.)

Yasya. House of books for you

build it kids... (She asks one or two children to help her build the sky of that house.)

I'll tie a flag to the turret...

One of the guys puts a flag on a high stand next to the house.

Ladies for dinner big

candy, Bake a pie with jam.

(Invites children to treat dolls.)

And then I'll take it from the closet

I'll show you the letters "A" and "O" ... Host. Yasya knows that a furry bear

Wants to learn letters. (Shows the children a primer, and they show the letters on the cubes to the toys.)

Yasya will spread the rug on the floor, Quiet time will arrange for the guys.

Children put toys to bed, sentence along with the leader.

Leading. Well, lie down, little ones,

in bed!

And the guys are sleeping in our garden!

Yasochka's children go to bed:

And a puppy, and a doll, and a bear.

Outside the window the wind blows, the wind ...

But it is warm for them to sit in the room.

So mom knocked on the door,

She hugged her little daughter.

(Invites one of the children to do this.) All. Youth, daughter,

I missed you, had a good day!

Let everyone play with these toys. If there are not enough, add the same ones to meet the interests of each child.

Other children participate in the second screening of the table theater. The role of Yasi can already be played by a girl, not a doll. In the future, you can come up with and play out new episodes from the life of Yasochka's garden with the children. Each child chooses toys-characters that he would like to bring to kindergarten. In order for the theatrical game to gradually develop and turn into a role-playing game, invite the children to play with Yasya, playing the roles of an assistant teacher, cook, doctor.

ByWITH.Kaputikyan

TOY THEATER. PICTURES ON FLANNELEGRAPH

Target. To teach children to listen carefully to the poem, join the game, imitate the voices of animals. To cultivate love, respect for all living things, the desire to care for animals.

Characters. Host, Masha, mother, dog, chicken, cat.

Material. Elements of the Armenian headdress or clothing for the presenter; toy or cardboard characters; table with dishes, bowl, saucer; musical recordings on a tape recorder: M. Rauchverger "Dog", An. Alexandrov "Cat", E. Tilicheeva "Hen and chickens".

Game progress. Starting the game, tell the children that the fairy tale "Masha is having lunch" came to visit them. In the first game, play all the roles yourself, set an example for the children. Encourage them to imitate animal voices. As the action progresses, you will expose the appropriate toys or pictures.

Mother (draws the attention of the children to the beautifully laid table). The hour of dinner approached, Mashenka sat down at the table. (He sits the doll at the table, praises for the correct posture, cleanly washed hands. Suddenly, a dog barks, which is not yet visible.)

Dog. Woof woof woof!

Mother (with joyful amazement). Who is this to us? Dog. Woof woof woof! All. Who is it there?

(The host puts the dog.)

Dog. It's me, your faithful dog.

Your Arapka is a black nose.

Day and night I guarded the house,

Worked out, chill.

Isn't it time for lunch? Mother. Our caretaker is tired! What will we feed the arapka? What does he love the most? (Puts a bowl in front of the dog.)

A cat's meow is heard.

Cat. Meow meow! (She is not yet visible.)

Mother, (to children). Who is scratching at our door now? (Let the cat go.)

Children joyfully welcome the guest.

Cat. This is your cat Murka,

Murka is a gray skin.

I guarded your cellar

Moved all the mice

Rats chased out of the basement,

Worked out, tired.

Isn't it time for lunch? Mother. Oh, and you worked hard, you weren't lazy. What does Murka the cat love the most? What shall we feed her? (Puts a saucer in front of the cat:)

Hear the cackle of a chicken.

Chicken. Where-where, where-where! Mother. Who else is rushing over here? Chicken. Your chicken is pockmarked

I'm coming to you straight from the barn.

I didn't eat, I didn't drink

I laid an egg for you.

Isn't it time for lunch? Mother. Now let's feed our guests. (Invites the children to do this.)

To a dog - in a bowl, In a saucer - to a pussy, To a laying hen - Millet in a skull,

And Masha - in a plate,

Deep, not shallow.

After eating, the animals and Masha thank their mother and ask the guys: “Do you children always say thank you for food?”

When handing out toys to children for independent play, first ask everyone how a chicken screams, a dog barks, a cat meows.

In the repeated game, the children themselves bring out the characters and imitate their voices. For the role of Mashenka, you can choose a girl who herself will serve food to the cat, dog and chicken.

At the end of the game, be sure to ask the children who feeds which animals and birds, helps adults take care of them.

PICTURE THEATER ON A FLANNEGRAPH OR ON A TABLE

Target. To evoke a festive mood in children, joy. Characters. Leader, children.

Material. Colorful silhouettes of adults cut out of cardboard with smartly dressed children, in whose hands are flags, flowers, balloons (silhouettes can be attached on a flannel-legraf, or you can put it on a table, having previously made it to them! At a stand made of coils or foam), a garland of red flags, a flowering apple branch (for a festive background), musical recordings: E. Tilicheeva "Flag" and "Holiday", T. Lomova "Holiday", T. Popatenko "Sun".

Game progress. Play the first game on the eve of May 1st. Remember the festively decorated streets with your children, express your joyful expectation of the upcoming event. Invite the children to listen to the poems about the holiday. When reading a poem, expose the characters that are mentioned in the text, then you can invite the guys to do this in turn.

Leading. The sun caresses your cheek...

It's May Day! I have a flag in my hand, I'm big now!

E. Blaginina

Today the sun is baking.

Today is a holiday - May.

Climb, son, on the shoulder

And raise your flag!

And in a year you will go on foot

With a red festive flag.

A. Barto

(Hands out a flag to the children, raises his own, showing an example.)

All. My flag, like a light, Glows while playing. Hello happy day! Hello May Day!

E. Blaginina

The second game can be organized after the holiday. Ask the children to share how they spent the day. Come up with simple stories with the guys, according to which you can create “living pictures”. For example:

1. The street was decorated with beautiful flags, multi-colored light bulbs. Dad, mom and daughter went out for a walk. Everyone is smiling and having fun.

2. Mom gave her daughter a red flower. The girl held it up high. Then she sang a song cheerfully (sing the song yourself first, and then ask the children to sing along).

3. A boy was walking towards the girl. He has a flag and balls in his hands. He gave the girl a beautiful balloon. The girl recited a poem to him.

Children also take turns reciting familiar verses. Then, taking multi-colored balls, they dance merrily.

By playing on their own, the child can also create a story. Often, kids call the characters by their proper names: “I am with a ball, and you are with a flag”; "I'm with dad," etc. Help the guys diversify the plots, make the game more interesting and exciting. For this purpose, you can use the poem by Y. Akim "Colored lights":

On holidays on the streets In the hands of the children Burn, shimmer Balloons.

Different, different

Theater games in kindergarten. The teacher makes a riddle. And the prickly hedgehog laughs

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