Puppet theater theme classes for children. Puppet theater program

I. EXPLANATORY NOTE

The program of the school puppet theater circle is designed for children 9-12 years old. Classes are held 2 times a week for 2 hours. Form of work: collective and individual.
The puppet theater plays a big role in shaping the personality of the child, in his spiritual development. It helps children to join the theatrical art and culture, to feel like creators, develops communication skills.
The puppet theater has a whole range of means of influencing not only the audience, but also the actors. Images-characters, scenery, text and musical accompaniment help school-age children better understand the idea of a dramatic work, especially since the effect is enhanced by direct contact with actors and puppets. The emotional impact of the performance on children is great. At an early age, they have a desire to be like goodies. And young artists feel their importance and fulfill themselves. The puppet theater "Golden Key" is a creative team of children who will be engaged in staging puppet shows, making puppets, scenery, compiling their own scenarios for productions. The task of the head of the theater circle is to direct the activities of the children in the right direction, support their initiative, help them with advice and deed.
The puppet theater forms a friendly creative children's team. One of the distinguishing features of this program is the game form of conducting classes, because. for children, play at this age is the main activity that constantly develops into work (training).

2. RELEVANCE OF THE PROGRAM

Puppet theater is one of the ways that leads a child to success in life, because this is the path of victory over oneself. Acquiring creative skills, communication skills, children become more liberated, self-confident, and all this happens naturally during an important activity of the child - playing, playing with a doll. The formation of a creative, socially adapted personality proceeds naturally, on the basis of the principle of conformity to nature.

3.Basic goals the work of the circle-theater: creating conditions for the formation of skills of creative activity.

4. Tasks mug - to develop children's imagination, memory, thinking, artistic abilities, to acquaint them with many children's fairy tales, to promote the development of sociability, sociability, to develop. motor skills of hands and fingers, motor activity of the child.

The program is aimed at the formation and development of universal educational activities:

regulatory:

goal setting;

Ability to accept and maintain a learning task;

Ability to choose actions in accordance with the task;

The ability to adequately perceive the assessment of the teacher;

communicative:

Development of creative activity in joint activities;

Ability to negotiate and come to a common solution to the problem

cognitive:

Training in the technique of working with puppets;

The development of children's speech, replenishment of vocabulary, expressiveness of speech.

4. Forms and methods of work.

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

The learning process is built from simple to complex. On simple and small forms, methods of working with a doll are practiced, which allows you to gradually encourage children to be creative, give them the opportunity to believe in themselves, love this type of creativity and arouse the desire to do more. It is necessary to develop the personality of the child, confidence in his abilities, to provide him with the opportunity to show the best, most successful work at exhibitions and shows. As they master the skills of working in the puppet theater, the guys show their performances for primary school students.

The form of conducting classes can be different:

Training session;

Creative workshop;

Master Class;

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

Educational and methodological support:

Methodological developments;

Information material;

Visual aids;

Photos;

Video materials;

product samples;

templates;

Handout.

The theoretical part of the lesson includes:

Setting goals and explaining tasks;

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

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

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

Accessibility - "from simple to complex";

visibility;

Individual approach to each student;

Organizations of mutual assistance in the performance of work;

Multiple repetition.

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

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

The requirements for the quality of productions are being raised slowly and gradually. This allows you to achieve good learning outcomes.

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

Logistics support of the educational program.

Classes of the puppet group are held in the school library and in the technology room.

The library has technical equipment: music center, computer. Equipped with a rack for storing disks, video cassettes.

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

In the library and in the office there are tools: scissors, pencils, rulers, pens, templates and everything you need to make dolls, props and decorations.

Expected results:

5. Educational and thematic plan

Topic of the lesson	Number of hours
	on the topic	theory	practice
Introductory lesson. Features of theatrical terminology
Screen arrangement and decorations
Types of puppets and how to control them

Features of the work of the puppeteer
Visit to the puppet theater in DDT "Planet of Childhood". Watching a puppet theater performance in the library on the Internet. Discussion of the play. (sketches)
Speech gymnastics
Selecting a play and working on it
Dress rehearsal. Play

1. Introductory lesson. Features of theatrical terminology

Acquaintance of children with the history of the theater "Petrushka" in Russia. The concept of a play, characters, action, plot, etc. Features of the organization of the work of the Petrushka Theater. The concept of "puppeteer". Familiarization of children with the principle of controlling the movements of the doll (movements of the head, hands of the doll). Safety engineering. Features of theatrical terminology.

Practical work: practicing the technique of doll movements on the hand.

2. The device of a screen and scenery

Introduction to the concept of decoration. Familiarization with the design elements (decoration, color, light, sound, noise, etc.) of a puppet theater performance. Primary skills of working with a screen. The concept of planar, semi-planar and volumetric scenery. Production of planar scenery (trees, houses, etc.). The concept of the physical and technical properties of materials for the manufacture of theatrical props.

Practical work: installation of a screen and the manufacture of scenery elements.

3. Types of puppets and how to control them

Expansion of knowledge about the types of dolls. Making dolls.

Practical work: Development of puppetry skills.

4. Puppet theater on a flannelograph

Acquaintance with the features of the theater on the flannelgraph.

Practical work: Etude exercise. Learning how to work with picture puppets. Work on the play.

5.Features of the work of the puppeteer

The concept of a variety of movements of various parts of dolls. Practicing the skills of moving the doll along the front sash of the screen. Features of the psychological preparation of the young artist-puppeteer.

Strengthening the skills of gestures and physical actions. Practicing the skills of moving the doll in the depths of the screen. The concept of theatrical professions (actor, director, artist, costume designer, make-up artist, illuminator, etc.).

Practical work: calculation of the time of certain scenes, mise-en-scenes and the length of the entire performance. Etude exercise.

6. Watching a puppet theater performance in the school library on the Internet. Visit to the puppet theatre. Discussion of the play (sketches)

Acquaintance with the rules of conduct in the theater.

Acquaintance of children with the theater involves watching TV shows. . Children learn to distinguish between the concepts of "theater" as a building and theater as a phenomenon of social life, as a result of collective creativity. They also learn to simultaneously and consistently engage in teamwork.

Practical work: Discussion of the play (sketches). Etude exercise.

7. Speech gymnastics

The concept of speech gymnastics and the peculiarities of the speech of various characters of the puppet show (children, adult characters, various animals). Voice modulations. The concept of articulation and expressive reading of various texts (dialogue, monologue, story about nature, direct speech, author's speech behind the scenes, etc.). Speech gymnastics (in the scenery). Working with phrases. Natural inclinations of a person, ways of their development. Visit to a puppet theater performance.

Practical work: development (training) of stage speech.

8. Choice of a play

Play selection. Reading the script. Distribution and trials of roles (two compositions). Learning roles using voice modulations. Performance design: production of accessories, selection of musical design. The connection of verbal action (text) with the physical action of the characters. Practicing musical numbers, rehearsals. The concept of acting and artistic means of creating a theatrical image.

Practical work: training on the interaction of actors in the proposed circumstances on stage.

9. Dress rehearsal. Play

Preparation of the premises for the presentation of the puppet show. The composition of the jury. Installation of a screen and placement of all performers (actors). Analysis of the results of the general rehearsal.

Practical work: organization and holding of the performance; organizing and conducting tours (preparing boxes for storing and transporting screens, puppets and decorations); showing the performance to primary school students, preschoolers; participation in the review of school puppet theaters

7. Expected results:

Mastering children involved in a puppet theater group, beautiful, correct, clear, sonorous speech as a means of full communication.

Disclosure of opportunities for self-realization, i.e. satisfaction of the need to express and express oneself, convey one's mood, realize one's creative abilities.

Show of performances for students of MBOU secondary school No. 13

8. Thematic planning

№	*Topic of the lesson*	*Number of hours*
		*Kind of activity,*	*theory*	*practice*
	Introductory lesson. Features of theatrical terminology	cognitive
	Features of the theater "Petrushka"	Cognitive Problem-value communication
	Screen arrangement and decorations	Labor cognitive
	Speech and finger gymnastics.	cognitive
	Scenery making	Cognitive labor
	Puppet theater on flannelgraph	Cognitive Problem-value communication
	Working with picture dolls	Cognitive Problem-value communication
	Speech gymnastics	Cognitive
	Play	More artistic creativity, social creativity
	Finger theater	Cognitive
	Making finger puppets and decorations	Labor Cognitive
	Work on the play	Cognitive Worst creativity
	Work on the play	Cognitive Worst creativity
	The movement of the doll along the front wall of the screen	Cognitive

"I approve"

Director of the gymnasium: _____________

Order No. _____

dated "_____" ________ 20___

Puppet circle program

Educational program of the puppet theater "Smile"

designed for students 7-9 years old.

I. EXPLANATORY NOTE

Conceptual part of programs

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

Characteristics of children enrolled in the course

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

3. Goals and objectives of the educational process.

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

Educational objectives of the program :

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

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

Education of tolerance towards each other;

Developmental tasks of the program:

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

Development of communication skills of students of different age groups.

Basic didactic principles :

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

4. Duration of the program development

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

5. Forms of conducting classes

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

v word games;

v finger exercises;

v role-playing games;

v motor exercises;

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

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

and evaluation criteria.

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

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

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

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

Participation in school, district competitions for additional education;

Presentation to parents and students.

7. Expected result:

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

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

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

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

Children need to know the terms

v performing activities;

v premiere;

v performance;

v actors;

v dress rehearsal

Children should be able to:

v correctly hold the doll;

v move behind the screen;

v follow the rules for working on the screen;

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

II. Educational and thematic plan

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

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

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

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

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

Total: 68 hours (1 year)

I.Puppet theater, its possibilities and features.

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

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

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

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

II.Selection of plays and rehearsal activities.

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

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

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

III. Analysis of work and long-term plans.

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

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

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

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

IV. Methodological support of additional educational program:

Methodological support:

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

Planned forms and titles of classes.

No. p / p	Forms of classes	Name

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

Material support:

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

V. List of literature for the teacher.

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

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

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

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

Magazines: "Head teacher of elementary school".

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

Literature for children:

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

Tongue twisters used in stage speech classes

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

Six mice rustle in the reeds.

Baran Buyan climbed into the weeds.

Our Polkan fell into a trap.

Beavers are kind to beavers.

Arkhip shouted, Arkhip hoarse.

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

Near the bell.

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

Sasha walked along the highway and sucked dry.

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

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

redstart, redstart,
Redstart redstart.

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

Kondrat has a short jacket.

We have Vlas, and you have Afanas.

Fasten the paperclips with a cross.

Roofer Kirill crooked roof wings.

Tall Vavila merrily tossed his pitchfork.

Fofanov's sweatshirt Fefele fit.

Pharaoh's favorite for sapphire was replaced by jade.

Evil potion will not go into the ground.

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

Watermelons were loaded from body to body.

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

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

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

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

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

From the clatter of hooves
Dust flies across the field.

The earth is ringing from the golden heat.

In our yard, the weather has become wet weather.

Bristles at the pig, scales at the pike.

There is an oblique goat with a scythe.

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

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

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

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

Weavers wove fabrics for Tanya's dress.

PUPPET DICTIONARY

Proscenium - the front of the stage.

Intermission is the interval between the performances.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Monologue - the speech of one person, thinking aloud.

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

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

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

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

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

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

Wig - false hair.

Parterre - seats for spectators below stage level.

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

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

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

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

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

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

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

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

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

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

Rehearsal - a repetition that precedes the performance.

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

Application

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

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

· Pictures from matches

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

· I'll draw on your back...

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

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

· Drawings on the fence

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

· circus poster

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

· Robots

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

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

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

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

Application

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

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

[g] - [k] - clicks;

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

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

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

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

F F F F F F F F F

F F F F F F

F F F F
F…F…

F F F F F F F F F

F F F F F F F

BAM! BOOM! JING!

F F F F F F F

TOP - TOP.

F F F F F F F F F F

SLAP!!! SHMYAK.

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

Municipal budgetary preschool educational institution

urban district of Korolev, Moscow region "Kindergarten

combined type No. 34 "Lyubava"

I approve:

Head of MBDOU "Kindergarten No. 34"

WORKING PROGRAMM

Mug by

« PUPPET SHOW»

for the 2017-2018 academic year.

middle group

caregiver:

Pytaleva S.V.

Explanatory note

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

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

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

Relevance.

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

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

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

Tasks:

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

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

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

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

imitate the characteristic movements of fabulous animals.

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

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

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

7. Introduce children to different types theater.

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

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

Syllabus

Number of classes - 1 time per week

Lesson duration - 20 minutes

Number of times a month - 4 lessons

Age of children - 4 - 5 years

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

Implementation period programs - 1 year:

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

Conducted under the guidance of a teacher.

Forms and methods of teaching:

Verbal - explanation;

Visual - display;

Creative - creative approach.

Are used:

Game exercises;

Games - dramatizations;

Role-playing games.

Expected Result:

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

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

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

Summing up forms:

Theatrical performances for children;

Participation in competitions for theatrical activities.

Forward planning.

September

1. Subject. We play theater.

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

2. Subject. We are future artists.

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

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

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

4. Subject. Rhythmoplasty.

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

1. Subject. Introduction to finger theater theatrical activities.

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

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

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

3. Subject. Fairy tale dramatization "Kolobok".

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

4. Subject. Psychogymnastics.

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

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

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

"Turnip".

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

3. Subject. View puppet theater"Turnip"

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

4. Subject. Theatrical sketches. Games are dramatizations.

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

5. Subject. expressive means of communication.

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

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

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

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

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

3. Subject. Fairy sketches. Games - transformations.

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

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

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

1. Subject. Introduction to the shadow theater.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

(finger theater) .

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

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

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

1. Subject. Fairy tale "Teremok"

Target

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

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

3. Subject. Introduction to flannelgraph.

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

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

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

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

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

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

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

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

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

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

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

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

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

List of literature.

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

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

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

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

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

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

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

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

9. Internet resources.

Attendance card mug« PUPPET SHOW»

Group number 13.

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

Present:

Absent.

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

Download:

Preview:

Circle program

"Puppet show"

Explanatory note

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

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

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

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

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

The purpose of the circle

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

Program objectives

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

Pedagogical principles

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

Organization of the process

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

Main Components	Recognition methods
Motives and values	Interest in theatrical art, the desire to improve their skills in working with a doll.
Knowledge	Knowledge: about the history of the puppet theater, theatrical vocabulary, professions of people who work in the theater (director, artist, decorator, props, actor).
Skills	Making puppets, working with a puppet on a screen.
Dominant personality traits	Acquiring the necessary personal qualities.

Educational - thematic plan

	Main blocks	Number of hours
	Main blocks	Total	Theory	Practice
	Introductory lesson
	Mysterious transformations
	Work on the play chosen for the performance
	Making dolls and props
	Selection for the performance of a play
	Showing a play to children
	Doll repair
Total

	Subject
	Introductory lesson. Theater. Its origins. Acquaintance with the history of the appearance of the parsley theater, with theatrical vocabulary, the professions of people who work in the theater (director, decorator, props, actor).
	Mysterious transformations. To introduce children to the world of theater, to give an initial idea of “transformation and reincarnation”, as the main phenomenon of theatrical art.
	Selection for the performance of a play. Expressive reading of plays by the teacher. Reading conversation. - Did you like the play? Which of her characters did you like? Would you like to play her? What is the main idea of this play? When does the action take place? Where does it take place? What pictures do you imagine while reading
	The distribution of roles and reading the work of students: Determine how many characters are in the play? What is the emotional state of the character? What is his character?
	Practicing reading each role: read clearly, clearly pronouncing all the sounds in words, do not swallow the endings, follow the rules of breathing; determine logical stresses, pauses; try to imagine yourself in the place of the character, think about how to read for “him” and why that is.
	Processing the reading of each role, rehearsal at the table (to teach children the ability to get used to their role, to teach their intonation to convey mood, feelings, character).
7 - 8	Learning to work on the screen: put the doll on the hand: head on the index finger, doll hands on the thumb and middle fingers; hold the doll over the screen on an outstretched arm, trying to do it smoothly, without jumps; do the suggested exercises with each child.
	Training to work on the screen, reading by each puppeteer of his role, the actions of the role. Distribution of technical duties for the performance, installation of design, decorative details, supply of props, assistance to each other in managing puppets, sound design of the performance.
	General rehearsal of the play. Making dolls and props.
	Showing the play to children.
	Play selection. Read the play aloud in front of all students. Determination of time and place of action. Characteristics of the actors, their relationship. Distribution of roles. Readings on roles at the table.
	Readings by roles, deep and detailed analysis of the play.
	Play rehearsal. Production of props and puppets for the play.
	Play rehearsal. Memorizing the text by heart, connecting the action of the doll with the words of its role.

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

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

MOU DO "House of Children's Creativity" MO Arsenevsky district of the Tula region

Additional educational program "Puppet Theater"

Leleykina Svetlana Viktorovna

Teacher of additional education

Explanatory note

Play is of great importance in a child's life. This is an unconscious desire to modify the surrounding world, bringing it closer to your own world, explaining it in your own way. Now is the time when no matter what they talk about, be it science, industry, education or art, everything is overgrown with a lot of problems. Our time, the time of stress, sharp rises and even sharper falls in the lives of people. The press, television, films, even children's cartoons carry a fairly large charge of aggression, the atmosphere is saturated with negative, disturbing and annoying phenomena. All this falls on the unprotected field of the child. And children involuntarily find themselves involved in the stormy pace of adult life, they are carried away by flows of unnecessary and harmful information, they are required in early development and early socialization. How to protect a child from such a terrible destructive force? Indeed, in fact, we dream of seeing our children and grandchildren healthy and cheerful, kind and loving, and not at all supermen, presidents and show stars. After all, neither a profession nor a career will make either you or your child a loved person around you with a pure heart and clear thoughts.

How can we, adults, learn how to live with a child, and not just coexist side by side, how to find a common language? We know that the main activity of a child before adolescence is play. It is the game that forms the child's life skills, which then remain with him for the rest of his life. And what kind of game can adults and children share with pleasure?

Of course, theater! Theater plays a big role in shaping the personality of a child. It brings a lot of joy, attracts with its brightness, colorfulness, dynamics. After all, this is not just entertainment, but a great way to get acquainted with the history, culture, customs, and customs of the peoples of the world. The theater will instill in the child a love of reading, observation and creativity. This is one of the best aids in the education of morality.

Theatrical activity helps the child to solve many problem situations indirectly from any character. This helps him overcome shyness, self-doubt, shyness. How much a child wants to be like his favorite heroes, to speak their words, to perform their exploits, to live their life at least a little. But how to transfer children's play to the stage? How to make a performance out of a game, and a game out of a performance? In theatrical classes, children play, create, create. Here they get acquainted with the surrounding world in all its diversity through images, colors, sounds, and skillfully posed questions make them think, analyze, draw conclusions and generalizations.

It can be argued that theatrical activity is a source of development of feelings, deep feelings and discoveries of the child, introduces him to spiritual values, develops artistic taste. And this is a concrete visible result. But it is no less important that theatrical classes develop the emotional sphere of the child, make him sympathize with the characters. Thus, theatrical activity is the most important means of developing empathy in children. (the ability to recognize the emotional state of a person by facial expressions, gestures, intonation, the ability to put oneself in his place in various situations, to find adequate ways to assist).

“In order to have fun with someone else's fun and sympathize with someone else's grief, you need to be able to transfer yourself to the position of another person with the help of your imagination, mentally take his place,” said the psychologist and teacher, academician B.M. Teplov.

All this contributes to the formation of the child's personality, developing a certain system of values, a sense of responsibility for a common cause, causing a desire to express themselves among peers and adults. Children acquire an additional opportunity to consolidate skills - the ability to express their thoughts, intentions, emotions, the ability to understand what others want from you. Theatrical activities stimulate the development of basic mental processes - attention, memory, speech, perception.

But children enjoy not only the game, but also the fact that they themselves make dolls - characters, create clothes for them, if necessary, think over and make the scenery necessary for the scenario. All this contributes to the development of creative imagination, introduces to theatrical culture.

The puppet theater contains great potential for the comprehensive development of the child's personality. However, these opportunities can only be realized when children feel joy and satisfaction from what they have created, if the creative process causes them a good mood. Puppet theater is also a whole world of new words, concepts that are not used in everyday life. This is the stage, backstage, curtain, puppets. Puppet theater classes combine all types of art, which also makes it possible to talk with children not only about its history, but also about painting, architecture, costume history and decorative and applied art.

The program provides for classes in the association in groups, subgroups, individually or as a whole, which is provided for by SanPiN 2.4.4.3172-14 dated 04.07.2014 No. 41 (Chapter VIII, clause 8.2).

In the classroom, the use of health-saving technologies (physical education) contributes to the preservation and strengthening of the physical and social health of the child.

Additional educational program "Puppet Theatre", developed on the basis of the author's program A.D. Krutenkova "Fairy-tale workshop "Magicians" - puppet theater". (Publishing house "Uchitel", 2008) - designed for 2 years of study, which allows you to create the most favorable conditions for the development of students.

Purpose of the program : development of children's creative abilities by means

puppet theatrical art.

Tasks of the educational process of the first stage of training:

Educational:

acquaintance with the puppet theater;
familiarity with the technique of driving puppets;

mastering the technique of acting.

Developing:

development of expressive speech;
development of plastic expressiveness;
development of imagination, fantasy;
awakening the creative activity of the child.

Educational:

fostering a sense of collectivity, interdependence;
the formation of the moral qualities of the individual;
the formation of volitional qualities of the individual.

Tasks of the educational process of the second stage of education:

Educational:

improving stage skills;
the acquisition of knowledge and skills to analyze the play, to characterize the characters.

Developing:

development of creative independence;
development of communicative qualities;
development of figurative, associative thinking.

Educational:

formation of aesthetic taste;
fostering a creative attitude to activity.

Metasubject outcomes studying the course is the formation of the following universal learning activities (UUD).

Regulatory UUD:

The student will learn:

understand and accept the learning task formulated by the teacher;
plan your actions at individual stages of work on the play;
exercise control, correction and evaluation of the results of its activities;
to analyze the reasons for success / failure, to master with the help of a teacher positive attitudes such as: “I will succeed”, “I can still do a lot”.

Cognitive UUD:

The student will learn:

use the techniques of analysis and synthesis when reading and watching videos, compare and analyze the behavior of the hero;
understand and apply the information received in the performance of tasks;
show individual creative abilities when composing stories, fairy tales, sketches, selecting the simplest rhymes, reading by roles and staging.

Communicative UUD:

The student will learn:

engage in dialogue, collective discussion, show initiative and activity;
work in a group, take into account the opinions of partners that are different from their own;
ask for help;
formulate your concerns;
offer help and cooperation;
listen to the interlocutor;
agree on the distribution of functions and roles in joint activities, come to a common decision;
to formulate own opinion and position;
exercise mutual control;
adequately evaluate their own behavior and the behavior of others.

Basic principles of work:

- integrity content, which implies the development in the unity of the intellectual, emotional-volitional and behavioral spheres of the personality of children and adolescents;

- continuity forms and methods of education, taking into account the actual and potential needs and interests of children;

- creativity which involves the development of the needs and abilities of children for self-realization in selected activities;

- openness, internal mobility of content and technologies associated with personal orientation, taking into account the individual interests and needs of children;

- continuity education, allowing the child at any stage to choose the directions and levels of development of activities.

Pedagogical methods

Verbal

visual

Practical

reproductive

Problem-search

Forms of organization of the educational and creative process:

- group lessons: theoretical and practical;

Game training;

Rehearsals: group and individual;

Organization of performances;

dramatizations;

Watching and attending performances;

Creative displays.

Form of control:

Observation;

Monitoring of learning outcomes for an additional educational program (2 times a year);

Open lessons for parents;

Creative report;

Participation in competitions.

The Puppet Theatre's two-year program is designed for 288 hours (144 hours per year).

Age of children: 7 - 11 years.

Classes are held 2 times a week for 2 academic hours. The charter of the institution establishes: 1 academic hour is 45 minutes. Between classes there is a break of 10 minutes.

Distinctive features and relevance of this additional

educational program

Puppet theater is one of the ways that leads a child to success in life, because it is the way of self-conquest. By acquiring creative skills, communication skills, children become more liberated, self-confident, and all this happens naturally during an important type of child's activity - playing, playing with a doll. The formation of a creative, socially adapted personality proceeds naturally, on the basis of the principle of conformity to nature. The originality of the program lies in the fact that all the theoretical knowledge included in the content of the program is tested in creative practice, transformed into a cognitive, communicative, social experience of self-realization in various activities.

The additional educational program "Puppet Theatre" can be considered as integrated (by content), complex (by type of activity), level (by methods of development).

The possibilities of level development most fully characterize the potential of the educational program, on the one hand, ensuring continuity and continuity in the creative development of children and adolescents, and on the other hand, guaranteeing the choice of the content of education that corresponds to the cognitive abilities and interests of children.

The principle of constructing the program is concentric, the next year of study deepens, expands the content, complicates practical skills and technologies. The educational and thematic plan of each year of study is represented by topics that become more complicated during the period of study, and our students from the first year of study to the second become involved in productive creative activity.

Expected learning outcomes.

As a result of the implementation first year learners should

Know:

Fundamentals of stage speech;

Means of plastic expressiveness;

Basic components of the puppet theater and its features.

Be able to:

Show artistic courage;

manage your attention;

Development:

Initial ideas about the puppet theater;

Perseverance and patience in the process of working with the doll.

As a result of the implementation second year of study learners should

Know:

The main elements of the stage action of the puppet theater, their features;

Construction of the simplest plot, using key words denoting actions.

Be able to:

Perform the simplest tasks and build an etude in tandem with any partner;

Perform acting training exercises in the presence of a stranger;

Maintain a dialogue with a partner (arbitrary or on a given topic);

Describe the emotions experienced by the hero of an etude or work of art, give an approximate interpretation of these emotions.

Development:

Within 2-3 minutes, the topic proposed by the teacher;

Within 5-7 minutes a group story on the proposed topic.

SYLLABUS

1 year of study

No. p \ p	Program section	Number of hours
No. p \ p	Program section	Total	theory	practice
	Introductory lesson	2	1	1
	"ABC of the theater"	8	5	3
	"Types of theatrical puppets and methods of puppetry"	10	4	6
	"Game speech training"	10	2	8
	"Doll work"	46	10	36
		66	9	57
	Final lesson	2	1	1
		*144*	32	*112*

EDUCATIONAL AND THEMATIC PLAN

1 year of study

No. p / p	SUBJECT	Number of hours	Theory	Practice
	Chapter "Introductory Lesson"

	Section "ABC of the theater"

	Pulcinella, France - Polichinelle, Germany - Hanswurst, etc. Viewing a presentation on the topic: "Theatrical puppets of the world." Game - improvisation "I am a doll", "I am an actor".

	Conversation: "The doll is an expressive means of the performance." Development of theatrical terminology. The first skills of working with a doll. Etude - fantasy "My home puppet theater".
	Section "Types of theatrical puppets and methods of puppetry"





	Section "Game speech training"





	Section "Working with a doll"
	Theatrical lesson "Puppet fairy tale"























	you imagined while reading.






















	Continuation of rehearsals.
	Rehearsals.
	Rehearsals.
	Rehearsals.
	Rehearsals.
	Rehearsals.

	Rehearsals.
	Rehearsals.
	Dress rehearsal.
	Final lesson

1. Introductory lesson.

1.1 Acquaintance with the additional educational program "Puppet Theatre". Goals and objectives of the creative association. Acquaintance of the teacher with the students. Rules of conduct in the classroom. Safety briefing when working on stage, with a screen, etc. Game - improvisation "What I want to learn."

2. The ABC of the theater.

2.1 What is theater made of? Acquaintance with professions: actor, director, artist, sound engineer, lighting designer, props, costume designer, etc. Puppets and puppeteer. Role. Actors. Activation of cognitive interest in the puppet theater. View presentation: "Puppet theaters of Russia".

2.2 The study of puppet heroes from different countries of the world (appearance, character, image, structure of the puppet). Russia - Petrushka, England - Punch, Italy - Pulcinella, France - Polichinelle, Germany - Hanswurst, etc. Viewing a presentation on the topic: "Theatrical puppets of the world." Game - improvisation "I am a doll", "I am an actor".

2.3 Conversation: "What is stage clothing." Types of screens for the puppet theater and their device. Viewing the puppet show "Turnip" followed by a discussion. Game training "Pinocchio and Papa Carlo", "I will not take with me to the theater ...".

2.4 Conversation: "The doll is an expressive means of the performance." Development of theatrical terminology. The first skills of working with a doll. Etude - fantasy "My home puppet theater".

3. Types of theatrical puppets and methods of puppetry.

3.1 Activation of cognitive interest in the puppet theater: riding puppet theater, puppet theater, shadow theater, cane puppets, life-size puppets, etc. Viewing a presentation on the topic: “Types of theatrical puppets”. Warm-up "Finger game". The work of each child with the doll on the ground and behind the screen.

3.2 Watching the puppet show "The Wolf and the Seven Kids" with subsequent analysis (what types of puppets, what character of the characters, how words and actions are connected, etc.). Basic position of the glove puppet. Games - dramatization with a doll (optional).

3.3 Conversation: "The expressive possibilities of a certain type of dolls." Etudes and exercises with puppets “Come up with a voice for the hero”, “I can do it, but how are you?” and others. Dance improvisations with a doll (D. Shostokovich "Waltz-Joke", P. Tchaikovsky "Dance of Little Toys", M. Glinka "Waltz-Fantasy", etc.).

3.4 Conversation - dialogue "Communication with a partner through a doll, how is it ..." (with the formulation of problem situations). Strengthening the ability to work with a glove puppet. Etudes: "The Fox and the Hare", "The Hare - Bouncer", etc. Demonstration of studies on the chosen topic.

3.5 An impromptu exam (consolidating the material on the topic "Types of theatrical puppets") - "The world of the puppet and its possibilities."

4. Game speech training.

4.1 Concept: "Articulation gymnastics". Activation of the mobility of the lips and tongue. Warm-up "Boastful Camels", "Cheerful Piglet", "Proboscis", etc. (T. Budennaya). Dictionary exercises: "Cork", "Mower", "Telegram", "Echo" (according to N. Pikuleva), etc.

4.2 The development of speech breathing, exhalation training, through the pronunciation of tongue twisters. Game tasks and exercises (“Pump”, “Soap bubbles”, “Bees”, “Inflate the balloon”, “Egorka”, etc.).

4.3 Exercises to send sound to the hall. A game of tongue twisters (main word: stressed, strong, medium, weak). Exercises for the development of the voice range "Floors", "Malyar", "Bells", "Miracle Ladder", "I" (from E. Laskava's exercises), etc.

4.4 Conversation: "Dictation and its importance in creating an image." Exercise for the development of diction: a chain of letter combinations: ba-bo-bu-by-bi-be, etc. Playing tongue twisters and tongue twisters. Acquisition of the skill of sounding the voice in any position of the body, head, etc. Exercises for simultaneous training of sound and movement. Work with poetic works (A. Barto, S. Mikhalkov).

4.5 Work on intonational expressiveness of speech. "Clean tongue in the image" (from the exercises of E. Laskava). Exercises on the voice in motion "1, 2, 3, 4, 5 - we will play together." Exercise for the development of intonation expressiveness “I love my mother very much”, “Come up with a different ending to the fairy tale”.

5. Working with the doll.

5.1 Theatrical lesson "Puppet fairy tale".

5.2 The concept of "Game", the emergence of the game. The relevance and significance of the game in the puppet show. Games and exercises for the development of attention: “What do you hear”, “Radiogram”, exercise with objects, “Hands-legs”, “pass the pose”, “Photographer”.

Games for the development of coordination of actions: "Friendly animals", "Telepaths", "Live phone", "Typewriter". Sketches with glove puppets "In the theater of Karabas Barabas".

5.3 Detailed training on how to work on the screen. Doing exercises individually with each child. Help each other to manage the puppets. Showing how the doll “says” correctly, how it appears and leaves. Finger gymnastics.

5.4 Working with a doll on a task (dolls meet each other, greet each other, ask each other about health, say goodbye, etc.). Learning to listen to a partner, try to understand him, evaluate his words and behavior. The sequence of actions of one’s own and the partner’s (you to me, I to you, “loop-hook”).

5.5 Demonstration and explanation of work with the doll at the table and screen. Etudes and exercises with a doll to develop the expressiveness of a gesture: “The doll sings”, “The doll teases”, “The doll laughs”, “The doll hides”, “We do exercises together”. Sketches for the reproduction of individual character traits: “The bear is lazy”, “The hare is cowardly”, “The wolf is evil”, “The little squirrel is cheerful”, etc.

5.6 Sketches with a doll for the development of attention: “They called the fox”, “They frightened the fox”, “They took away the fox ...”, “Friendly animals”. Sketches for the development of fantasy and imagination: "Toy Store", "Birthday Gift", etc.

5.7 Showing and explaining exercises with an object (dolls drag a bag, build a house, wipe dust, pass a ball to each other, etc.) Finger gymnastics.

5.8 Workshop "Paper Masquerade" - making samples of dolls. Endowing the doll with character, voice, movement.

5.9 Conversation - dialogue: “Internal and external specificity of a character, image. The character and appearance of the doll, their connection and relationship.

Viewing the puppet show "The Three Little Pigs" (analysis of the movements and speech of the doll, determining the character's character by the intonation of the voice). Exercises with puppets on the ability to combine verbal action with physical (puppets meet, talk, evaluate each other's words and behavior, etc.). Transmission of character through voice and movement.

5.10 Conversation: "The proposed circumstances - what is it?". Creative tasks for endowing the doll with character and movement in the proposed circumstances. The game "Revival of the doll", "What would happen if ...". Composition and dramatization of fairy tales "Stories with those heroes who" came to life "".

5.11 Lesson - fantasy "Dollhouse", discussion about puppet images and scenes. Story of own composition. Playing puppet stories.

5.12 Conversation: "Gesture and its meaning in the work of an actor-puppeteer." Exercises for working out the expressiveness of gestures when working with a puppet: “Guess the gesture”, “Repeat the chain of gestures”, “Mirror”, etc. Finger gymnastics.

5.13 Conversation - reasoning: "What is the role and image in a puppet show." The game is a dramatization of the fairy tale "Teremok". Role-playing games behind the screen (puppet driving, gait, communication, stopping in motion, working with objects, etc.).

5.14 Musical room "Dolls dance and sing." Working with a doll for the task: "The dolls came for a birthday ...". Dance improvisations with puppets to the songs of V. Shainsky "The Grasshopper's Song", "It's fun to walk together", G. Gladky "Like a lion and a turtle sang a song", etc.

5.15 Demonstration of the presentation "Puppet Workshop". Practical activities, making dolls from improvised materials "The second life of things." Playing out situations with your dolls.

5.16 Conversation: "Features of speech in the character of the character." Theatrical games to determine the nature of the character: "Know me", "Catch the intonation." Working with a puppet behind a screen, the dialogue of puppets, taking into account the possibilities of intonation.

5.17 Conversation - dialogue "The expressive possibilities of a certain type of dolls." Practicing puppetry skills with puppets.

5.18 Exercises to practice the doll's speaking skills. Stop in motion.

5.19 Consolidation of the material on the topic: "Intonation and the character of the puppet show." Show sketches on the chosen topic.

5.20 Practicing the doll's gait, gesture, evaluation, communication. Exercises with imaginary objects. Etudes: "The Fox and the Hare", "The Hare - Bouncer", etc.

5.21 Teaching the technique of interaction of several puppets behind a screen on a short literary fragment. Using dialogues.

5.22 Lesson "Fairy-tale characters in the theater." Acting out a theme, plot without prior preparation.

5.23 Strengthening the skills of working with a doll on a screen individually with each child and in a group.

6. Staging a puppet show

6.1 Reading a fairy tale by a teacher. Reading conversation. - Did you like the plot? Which of her characters did you like? Would you like to play her? What is the main idea of this tale? When does the action take place? Where does it take place? What pictures

you imagined while reading.

6.2 Distribution of roles for staging in a puppet show. Reading a fairy tale by roles. Rehearsals at the table.

6.3 Processing the reading of each role (the ability to get used to your role, intonation to convey the mood and character of the character).

6.4 Teaching children teamwork. Form a clear and competent speech. Improve the ability to find key words in a sentence and highlight them with your voice.

6.5 Training to work on the screen, behind the screen, each puppeteer reading his role, the actions of the role. The connection of verbal action (text) with the physical action of the characters.

6.6 Exercises and etudes for practicing the doll's speaking skills. Hero dialogue.

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

6.8 To improve the ability of children to create images using gestures, facial expressions (exercises and sketches with dolls based on the plot of a fairy tale).

6.9 Determination of the main mise-en-scenes according to the plot of the play. Rehearsals of mise-en-scenes.

6.10 The material part of the performance: props, screen arrangement, scenery. Features of the puppets used in the play.

6.11 Acquaintance of children with musical works, excerpts that will sound in the play.

Work on the expressiveness of speech and the authenticity of behavior in stage conditions.

6.12 Rehearsal of the prologue, 1st and 2nd episodes of the performance with scenery and props. Appointment of persons responsible for props, scenery, doll costumes.

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

6.14 Conversation: “The principle of the ratio of scenery and puppet: “dark” on “light” - “light” on “dark”. Episode rehearsal.

6.15 Conversation: "Music and movement of the doll." Rehearsals for episodes - working out the plasticity of the hands of the puppeteer, the communication of the character with the viewer.

6.16 Work on character role. Rehearsals.

6.17 rehearsal period. Production of scenery, props, props.

6.18 The physical and psychological well-being of the actor in the role through the puppet. Adaptation to props, scenery.

6.19 Completion of the production of props, scenery for the performance.

6.20 Group and individual rehearsals.

6.21 Practicing the work of puppets with objects. Group and individual rehearsals.

6.22 Improving the expressiveness of movements, intonational expressiveness. The behavior of the hero in certain proposed circumstances.

6.23 Rehearsal of all episodes of the performance using scenery, costumes, musical accompaniment, light. Teaching children to evaluate the actions of others and compare them with their own actions.

6.24 Continuation of rehearsals.

6.25 Rehearsals.

6.26 Rehearsals.

6.27 Rehearsals.

6.28 Rehearsals.

6.29 Rehearsals.

6.30 Inspection of dolls, scenery, props used in the show. Doll clothes repair. Preparing the missing props and puppets.

6.31 Rehearsals.

6.32 Rehearsals.

6.33 Dress rehearsal.

7. Final lesson.

7.1 Creative report - show performance. Display analysis. Summarizing. Awarding the best students.

SYLLABUS

2nd year of study

No. p \ p	Program section	Number of hours
No. p \ p	Program section	Total	theory	practice
	Introductory lesson	2	1	1
	"History of the Puppet Theatre"	8	5	3
	"Scenic speech"	10	4	6
	"Staging Secrets"	16	2	14
	"Doll work"	30	4	26
	"Doll Making"	16	4	12
	"Staging a puppet show"	60	6	54
	Final lesson	2	1	1
		*144*	27	*117*

EDUCATIONAL AND THEMATIC PLAN

2nd year of study

No. p / p	SUBJECT	Number of hours	Theory	Practice
	Chapter "Introductory Lesson"
	Acquaintance with the additional educational program "Puppet Theatre". Goals and objectives of the 2nd year of study. Rules of conduct in the classroom. Safety briefing when working on stage, with a screen, etc.
	Section "History of the puppet theater"




	Section "Stage speech"

	Exercise on the correct pronunciation of words, sounds. Vowel sounds.


	Dramatization games with puppets on the theme of familiar fairy tales (“Ignorant Bear” by A. Barto.) Learn to use intonations, pronouncing phrases sad, joyful, angry, surprised.
	Section "Secrets of stagecraft"








	Section "Working with a doll"















	Section "Making a doll"








	Section "Staging a puppet show"

























	Rehearsals.
	Rehearsals.
	Rehearsals.
	Run-through rehearsal.
	Dress rehearsal.
	Final lesson
	Creative report - show performance. Display analysis. Summarizing. Awarding the best students.

1. Introductory lesson.

1.1 Acquaintance with the additional educational program "Puppet Theatre". Goals and objectives of the 2nd year of study. Rules of conduct in the classroom. Safety briefing when working on stage, with a screen, etc.

2. The history of the puppet theater.

2.1 Puppet theater in ancient Greece. Viewing a presentation on the topic "The History of the Puppet Theatre". Collective review analysis. Conversation-reasoning "The most modern dolls."

2.2 Italy is the most puppet country in Europe. Types of dolls. Glove puppet - the story of Pulicinella, Polichinelle, Punch, Petrushka and others. Quiz "In the world of puppets".

2.3 The box of Bethlehem is the legacy of a generation. Christmas custom. Exhibition of drawings "My favorite doll".

2.4 Conversation: "Puppet theater is one of the forms of artistic education." S.V. Obraztsov "State Central Puppet Theater" - its importance in the development of puppet theaters in Russia. Petersburg Puppet Theater named after Evgeny Demenni. Theatrical game "Journey with a theater ticket."

3. Stage speech.

3.1 The concept of sound culture, diction, articulation. Fundamentals of correct breathing in pronunciation. orthoepic norms. Exercises with tongue twisters, tongue twisters. Exercises for the development of breathing "Ball", "Candle", "Airplane", etc.

3.2 Exercise on the correct pronunciation of words, sounds. Vowel sounds. Exercises for the melodiousness of the voice. Exercises for the installation of diction.

3.3 Acquisition of the skill of sounding the voice in any position of the body, head, etc. Exercises for simultaneous training of sound and movement. Work with poetry. Articulation gymnastics. Exercises for the correct pronunciation of sounds.

3.4 Development of the ability to build dialogues between the characters in invented proposed circumstances. The game is a dramatization according to the plot of the verse. "Fedorino grief" (K. Chukovsky)

3.5 Dramatization games with puppets on the theme of familiar fairy tales (“Ignorant Bear” by A. Barto.) Learn to use intonations, pronouncing phrases sad, joyful, angry, surprised.

4. Stage Secrets

4.1 Conversation: Gesture is the language of puppet action. Work behind the screen, individual approach to the image. Practicing gestures behind the screen through the action of the hero. The physical action of the hands of the puppeteer is combined with the plastic action of the puppet.

4.2 The concept of "image". Creation of a stage image. Doll - as an emotional image and its impact on the viewer. Creating an image by means of fine arts (children's drawings).

4.3 The concept of "Character", "Physical action", "Rhythm", "Artistic doll", "Improvisation". Exercises and sketches with a doll to create a free individual image "Guess who I am", "The emotional state of the characters."

4.4 Conversation - dialogue "Creative qualities - an actor-puppeteer." Exercises to develop communication skills with the viewer through the doll.

4.5 Development of acting courage with the help of game tasks and exercises with a doll. Etude exercise: development of attention, memory, emotions. Creative tasks to consolidate knowledge.

4.6 Transfer to the stage of life observations (recognizability of the image), an accurate idea of what I am doing? what do I do it for? how do i do it?

4.7 The role of the personality of the actor and the puppet. Sketches for the education of the qualities necessary for truthful action on stage. Etudes for practicing gait, gesture, assessment, communication.

4.8 Actor's Workshop. The development of children's ability to independently make attributes for the puppet show "Mitten". To cultivate accuracy in working with fabric, cardboard. Develop creativity and imagination.

5. Working with the doll.

5.1 Viewing the puppet show "Kolobok". Practicing expressive reading of the words of each hero of the fairy tale, sketches with puppets based on the material viewed.

5.2 Basic rules for driving a doll behind a screen. Work on the basic position of the glove puppet. Games, exercises and sketches with dolls and animated objects.

5.3 Creation of stage space, skill

navigate behind the screen, determine the main place. Work with the hand. Work on the movement behind the screen. Hand movement exercises. Exercises in the transfer of the character of the hero in motion.

5.4 Making finger puppets from gloves, mittens. Scenes with made puppets.

5.5 Exercises and studies with puppets for the simplest types of communication without words. Educational game "My character". Speech features of the hero. Watching movie clips and analyzing the actions of the hero. Exercises “walking doll”, “crying doll”, “laughing doll”, etc.

5.6 Viewing the puppet show "Snow Maiden". Analysis of what he saw (suggested circumstances, the nature of the characters, the physical and verbal action of the puppets, etc.). Playing out individual scenes behind a screen based on fairy tale materials. Cultivating a sense of collective creativity.

5.7 Collective writing (what would happen if ...). Games - dramatizations with puppets for fictional stories.

5.8 Practicing puppetry with objects (take, give, pass, throw, catch, etc.). Working with a puppet according to the principle: "The body of an actor - a tool - a puppet."

5.9 Exercises behind the screen, practicing gait, stopping in motion. Exercises with imaginary objects.

5.10 Theatrical games for the development of plasticity of hands: "Tulip", "Octopus", "Snakes", "Sculptor", "Butterflies". Exercises for the removal of muscle clamps "Pinocchio and Pierrot", "Rostok", "Mercury ball", "Spring", etc.

5.11 Lesson - fantasy "Dollhouse", discussion about puppet images and scenes. Stories of own composition. Improvisations behind a screen with a doll on fictitious stories.

5.12 Exercises to practice the doll's speaking skills. Hero dialogue. Character and image in the transmission of intonation.

5.13 Exercises and sketches with a doll for solving acting problems, taking into account the specific features of the character (appearance of the doll, its device and capabilities).

5.14 Group exercises with a doll - etudes. Evaluation of what is happening through the doll.

5.15 Consolidation of the material on the passed section.

6. Making a doll

6.1 Acquaintance with the technology of making puppets and decorations from various materials (knitted puppets-gloves, pop puppets made of foam rubber, etc.). View illustrations and videos. Making puppets from hand-made material.

6.2 The development of motor skills of the fingers. Practical private lessons.

6.3 Explanation of the manufacture of the head of dolls using the papier-mâché method. Working with plasticine - a sketch of the head of the future character.

6.4 Pasting the workpiece, several layers of paper, drying.

6.5 Extraction of plasticine from the workpiece, gluing the shape of the head. Individual work on painting the head.

6.6 Completion of work on the manufacture of the head of the doll using the papier-mâché method. Making a wig. An idea for making clothes for a glove puppet.

6.7 Cutting and sewing clothes for a glove doll. Making a cartridge, gluing the cartridge and the doll's head.

6.8 Gluing head and costume. Completion of work on the manufacture of a glove puppet.

7. Staging a puppet show

7.1 Choosing a fairy tale to stage. Reading conversation. - Did you like the play? Which of her characters did you like? Would you like to play her? Determination of time and place of action. Characteristics of the actors, their relationship.

7.2 Determination of the topic, idea, super-task, conflict. Distribution of roles. Readings on roles at the table.

7.3 Practicing reading each role: read clearly, clearly pronouncing all the sounds in words, do not swallow the endings, follow the rules of breathing; determine logical stresses, pauses; try to imagine yourself in the place of the character, think about how to read for “him” and why that is. Exercises and games with a doll for a sense of partnership.

7.4 Learning words (stress, emotional intonation, pauses, tempo).

Learning to connect the actions of the puppets with the words of the play.

7.5 Role work. Formation of the skill of independent work on director's remarks, actively use the acquired skills on the role.

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

7.7 Work behind the screen. The distribution of forces within each scene, the performance as a whole.

7.8 The concept of expressive means. Search and discussion of expressive means on the plot of the play. Individual work on the role.

7.9 The search for the expressive possibilities of puppets in the proposed circumstances of the play, studies with puppets based on the material of the play. Developing a sense of partnership behind the screen.

7.10 Classes in the stage movement of puppets, the definition of mise-en-scenes, plastic and speech behavior of the heroes of a fairy tale.

7.11 Interaction on the screen of all the heroes of the play, connecting the actions of the puppet with the words of their role.

7.12 Mis-en-scene based on the plot of the play. Rehearsals with musical accompaniment.

7.13 Making a sketch of a poster, scenery. Production of decorative elements. Distribution of technical responsibilities for the performance. Installation clearance, decorative details.

7.14 Working with puppets (appearance and disappearance of a puppet, tilts and gestures, puppets addressing each other and a specific object). Puppet work with objects.

7.15 Individual work on the character of the role. Development of the internal and external characteristics of the characters and their stage tasks.

7.16 Working behind a screen with a puppet, working out the consistency of the words and actions of the puppeteer. Disclosure of the conflict, an individual approach to achieving the goal.

7.17 Group and individual rehearsals. Improving the ability to convey the images of the characters of the play through the emotional state of the characters.

7.18 Rehearsals. Improving the ability of children to create images using gestures, facial expressions.

7.19 Rehearsal of all episodes of the performance using scenery, costume elements, musical accompaniment, light.

7.20 Group and individual rehearsals. Teaching skills to achieve expressive action of puppets.

7.21 Working behind a screen with a puppet, working out the coordination of the words and actions of the puppeteer according to the plot of the production.

7.22 Individual and group rehearsals of the puppet show.

7.23 Checking and making the missing props for the play. Repair of dolls and making parts of a doll costume.

7.24 Rehearsals. Practicing the basic rhythm of the movement of dolls, dance movements of the doll.

7.25 Editing rehearsals, runs.

7.26 Rehearsals.

7.27 Rehearsals.

7.28 Rehearsals.

7.29 Run-through rehearsal.

7.30 Dress rehearsal.

8. Final lesson.

8.1 Creative report - show performance. Display analysis. Summarizing. Awarding the best students.

Technical equipment of classes

To organize a puppet theater, glove puppets are used, starting with the easiest to manage.

Music is an integral part of the puppet show, it enhances its emotional

perception. The choice of song and music is determined by the content of the performance.

Puppet classes are held in an office or other room adapted for this purpose. To organize a puppet theater, the following equipment is required:

Theatrical screen;

Scenery for performances.

All the necessary equipment can be made independently. Under the guidance of a teacher, children can sew the necessary puppet actors. Parents of students can provide all possible assistance in making dolls, decorations and screens.

List of literature for the teacher:

"Dali Theater Studio", A.V. Lutsenko, Moscow, 1997.
"Theatrical classes in kindergarten", N. Trifonova, Moscow, 2001.
"Origami Theatre", S. Sokolova, Moscow, 201.
"Development of children's speech", N. Novotvortser, Moscow, 1998.
"Smile of Fate", T. Shishova, Moscow, 2002.
“Funny and sad on the school stage”, G.G. Ovdienko, Moscow, 2000.
“Fairy-tale workshop “wizards” - puppet theater” A.D. Krutenkova, Teacher, 2008.
"Methodology and organization of theatrical activities of preschoolers and younger schoolchildren", E.G. Churilova, Moscow, 2001.
"Theatrical games - classes", L. Baryaeva, St. Petersburg, 201.
"Theatrical activity in kindergarten", A.E. Antipina, Moscow, 2003.
“We play puppet theater”, N.F. Sorokina, Moscow, 2001.
"Puppet theater - for preschoolers", T.N. Karmanenko, Moscow, 1982.
"Theater of fairy tales", L. Polyak, St. Petersburg, 2001.
“We play theater”, V.I. Miryasova, Moscow, 2001.
"Our cool theater", A.M. Nakhimovsky, Moscow, 2003.
"Let's arrange a theater", G. Kalinina, Moscow, 2007.
“Home Puppet Theatre”, M.O. Rakhno, Rostov-on-Don, 2008.
Video presentation.