Message about the puppet theater. Puppet show

I'll start with a little digression into history.
Puppet theater has been around for a very long time. The ancient peoples believed that different gods, devils and sacred animals lived in the sky, on the ground, under the ground, and even in the water. To pray to these gods, people made their images: large and small dolls made of stone, clay, bone or wood. They danced around such dolls, carried them on a stretcher, drove them on chariots or on the backs of elephants, and sometimes arranged all sorts of cunning devices and forced the dolls depicting gods, devils or dragons to raise their arms or paws, open their eyes, nod their heads, bare their teeth. Gradually, such spectacles became more and more like theatrical performances.

For thousands of years in all countries of the world, with the help of dolls, legends about gods, demons, werewolves, genies were played, and in the Middle Ages in European countries dolls depicted the creation of the world, Adam and Eve, devils and angels, played folk tales and satirical scenes ridiculing human vices: stupidity, greed, cowardice.
Now puppet theaters put on folk tales and plays written by playwrights. Most puppet theaters play for children, but some also put on performances for adults who love puppet theater no less than children.
Puppet theaters are the first to introduce children to theatrical art. They not only bring the joy of understanding the art of the theater, but also bring up artistic taste, teach understanding of the world around.
And the main characters of the theater are, of course, puppets.
At first glance, all theatrical puppets seem the same, but meanwhile they are different. The main difference is in their device.

Bibabo

The simplest are glove puppets, or bibabo. Many of you are familiar with glove puppets. This is the famous Parsley, various bunnies, bears, dogs, that is, all those dolls that are put on the hand like a glove, only not for five fingers, but for three. One finger is inserted into the head of the doll, two more - into the sleeves of the costume, that is, into the hands of the doll.

Cane puppets

Stick puppets are controlled by special wires or sticks that can be disguised in the dolls' clothes. The head of the doll is mounted on a special rod - gapit, shoulders and arms are attached to it. The cane puppet is larger than the glove puppet. In its proportions, it resembles a person. The reed puppet is the most common in the puppet theater.

Puppets

The most difficult puppet to manufacture and manage is the puppet. It is controlled by threads or thin wires. In the actor's hand is a vaga (movable cruciform holder). It contains threads going to various parts of the doll's body. The actor alternately pulls the strings, and the doll comes to life.

In our country, puppet dolls are not widely used. The puppet theater of puppets operates in Tbilisi, in Leningrad - the puppet theater named after E. S. Demmeni, some theaters have one or two performances with puppet puppets in their repertoire. In the State Puppet Theater of the BSSR, with puppet puppets, the performance “The Nightingale” based on the fairy tale by Andersen was staged.

Mechanical puppets

The puppet theater also uses mechanical puppets. They are controlled by various mechanisms: levers, rubber bands. This is how galloping horses, marching soldiers, monkeys climbing trees are made.

Mimic puppets

There are dolls made of soft materials: tricotine, rubber. The actor's fingers are in the head of the puppet, contracting or straightening, they give the puppet's face different expressions. These are mime dolls.

Shadow puppets

Shadow puppet - a flat image of a person or animal, casting a shadow on the screen, which, in fact, is the stage of the shadow theater. Shadow theater is widespread in many Asian countries, where it is parodic in nature.

Nativity scene dolls

For crib puppets, there is a special kind of puppet technique - these are puppets attached to a pin that extends from the bottom of the puppet like a handle - they are held through the cracks in the floor of the stage. From time immemorial, only one play has been played in the crib: the Christmas Mystery.

PUPPET SHOW- special kind theatrical performance, in which puppets act instead of actors (or along with actors).

The origins of the puppet theater are in pagan rituals, games with materialized symbols of the gods, personifying the forces of nature. The first ritual dolls include images of totems - the patrons of primitive tribes.

Currently, a huge variety of its types and forms fall under the general definition of puppet theater.

There are a number of principles for the intraspecific classification of puppet theater. The two most common are:

on the principles of social functioning;

by type theatrical puppets and how to manage them.

1. Classification according to the principles of social functioning.

Within this classification, the following main areas of puppet theater can be distinguished.

A) Ritual and ceremonial - the most ancient form of puppet theater. Back in the 16th century. BC. in Egypt there were puppet mysteries about Osiris and Isis. Mentions of play dolls are found in Herodotus, Aristotle, Horace, Marcus Aurelius, Apuleius and others.

Most often, ritual and ceremonial puppet theaters are the most traditional theaters, strongly associated with national traditions. A number of puppet theaters of the East developed in this direction: the Indonesian wayang; Japanese joruri; Indian; Chinese, etc.

A number of theaters of the Christian tradition also belong to ritual and ritual ones. The doll took part in the European mysteries of the 11th-16th centuries. (The term puppet, denoting a type of play dolls, arose from the name of the figurines depicting the Virgin Mary in the mysteries). Later European ritual and ritual puppet theaters (mainly Christmas ones) have survived to the present: El Pastorets (Catalonia); Nativity scene (Ukraine and Russia); Batleyka (Belarus), Malanka (Moldova); Shopka (Poland) and others. main point such spectacles are not a performance, but an action, a mystery.

The unique Bread and Puppet theater by Peter Schumann (Vermont), which has no analogues in world history, works in this mystical direction.

2) People's satirical puppet theater. The origins of this species are considered to be the ancient Roman improvised sketches of atellan (from the city of Atella in ancient Campania). Topical satirical scenes were built on the participation of typed characters, one of which - Mack - became the prototype of the main comic puppet character of the folk theater. In the most different countries this jester character had a similar appearance: large-headed, hook-nosed, with one or two humps - in front and behind. In Indian theatre, this is Vidushaka; in Turkish (and the Armenian that came out of it) - Karagyoz; in Central Asian - Palvan Kachal (Bald Hero); in Italian - Pulcinella; in English - Punch; in German - Hanswurst; in French - open; in Belgian - Voltier; in Russian - Petrushka (Peter Ivanovich Uksusov, Vanka Ratatouy); etc. This character largely retains the most ancient features of the archaic pratheater - both in its character as a trickster's double-shifter, and in the puppeteer's devices (for example, a squeaker, a tool for changing the voice, which came from shamans' rituals).

This direction was practiced mainly by itinerant actors. Popular satirical puppet theater is characterized by conventionality, minimalism of design and other visual means; simple standard plot diagram, inside which there is improvisation on topical topics.

C) Puppet theater for children. Mostly built on fairy-tale material. As a rule, it combines two functions - educational and entertaining. Due to its specificity, it has a high degree of didacticism - explicit or implicit.

Within the same classification, one can distinguish whole line additional areas of puppet theater. For example:

– allegorical-symbolist theater (performances are addressed to an adult audience);

- theater of mass and collective holidays (giant puppets work in direct contact with the audience, involving them in a joint action);

– medical theater (the doll is used in the treatment of certain mental illnesses and for the development of fine motor skills).

2. The classification of the puppet theater by types of puppets and methods of their control is rather of an auxiliary professional nature, because. often in one performance different types of theatrical puppets are used.

Tatyana Shabalina

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Introduction

4. The magic of the puppet theater

5. Puppet theater and school

Conclusion

Application

Introduction

The puppet theater can play big role in shaping the personality of the child. It brings a lot of joy, attracts with its brightness, colorfulness, dynamics, affects the audience. It early begins to attract the attention of children and is fraught with great opportunities for their comprehensive development.

The puppet theater has a whole range of means: artistic images-characters, design, word and music - all this taken together, by virtue of the figurative-specific thinking of the child, helps the child to understand the content easier, brighter and more correctly. literary work, learn foreign languages, affects the development of his artistic taste. A doll playing on stage does not live conditionally for a child, it is a reality, a fairy tale come to life.

Unlike television programs And animated films, it is really visible in three-dimensional space and materially perceptible, present nearby, you can touch it.

Preschoolers and 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 puppets, willingly carry out their instructions.

An emotionally experienced performance helps to determine the attitude of children to what is happening, to the characters and their actions, causes a desire to imitate goodies and be different from the negative.

1. A little bit about the history of tetra dolls

The art of reviving dolls is very ancient, its history is huge, its geography is very wide. Puppet theater, a type of theatrical performance in which puppets (volumetric and flat) act, set in motion by puppeteers, most often hidden from the audience by a screen. Many forms of performances are determined by the difference in the types of puppets, their control systems: puppets (puppets on strings), the so-called riding puppets (glove puppets), cane puppets, mechanical ones, etc. Sometimes puppets are replaced by a conditional object (cube, ball, wand, etc.), metaphorically depicting a living being.

Dolls range in size from a few centimeters to double human height. The difference in the forms and nature of representations is most often due to national tradition, the specifics of staging and dramatic tasks, the relationship with other types of art (graphics, folk toy, sculpture, mask theater, cinema). The origins of the Puppet Theater are in pagan rituals, games with materialized symbols of the gods, personifying the unknown forces of nature. Historically, it is associated with the development of the most ancient forms of stage culture. As a rule, this theater was distinguished by traditional plots, performance techniques, and the presence of constant heroes.

Puppet theater performances in most countries consisted of religious and mystical spectacles. In Ancient Egypt(16th century BC) - this is a mystery about Osiris and Isis, in ancient India and China - cult performances. Theatrical puppets are mentioned by Herodotus, Xenophon, Aristotle, Horace, Marcus Aurelius, Apuleius, and others. performances were held in churches and monasteries in which dolls were used as a means of staging gospel scenes, the Virgin Mary became their main character. The name Marion (Marion, Marionett) remained in the Romano-Germanic languages as a designation for a theatrical puppet in general, in the Slavic languages - puppets on strings.

The performances of the Puppet Theater were increasingly saturated with topical, "earthly" content, which caused persecution from the medieval church.

Expelled from the interior of the church to the porch.

The puppet theater then settled in the squares and fairs, being persecuted by the Inquisition. Despite the prohibitions, the anti-church, anti-feudal element intensified in his ideas. By the end of the 16th century in Italy, the folk-satirical Puppet Theater with the main character Pulcinella was finally formed. Inheriting the traditions of the Atellanic comedy (see Atellana), close in spirit to the comedy dell'arte, it spread to Europe.

In the 17th century a similar uncensored Puppet Theater established itself in France ( main character- Polichinel), England (Punch), Germany (Ganswurst, later Kasperle), Holland (Pikelgering), Belgium (Voltier), Poland (Koplenyak), Romania (Vasilak), Czechoslovakia (Kashparek), in Russia (Petrushka) .

Among the peoples of Asia and the Middle East, the Puppet Theater developed in a special way. Here, since ancient times, its traditional national forms. Presumably, the progenitor of Pulcinella, Petrushka and others was the comedic hero of the classical Indian theater, the big-headed hunchbacked jester Vidushak (Turkish Karagyoz is close to him).

In the Indian Puppet Theater, the puppet is led by two puppeteers (one behind the screen, the other in front of the screen). The emergence of the Puppet Theater in China dates back to the 1st century. BC e.

In the Japanese Puppet Theater (known since the 11th century), large human-sized puppets are used, which are controlled by 4-5 puppeteers in black clothes (a black mask on the face - a stocking) that are visible to the audience at the same time. It, like the Chinese Puppet Theater, is associated with classical theater.

Until the 19th century V European Theater puppets were played traditional, often satirical, review plays about those in power, officials, the church; There were also wandering stories about Dr. Faust (JW Goethe borrowed him from puppeteers), Don Giovanni, the king and his three daughters, and others. attempts are being made to create a professional puppet theater. G. Kleist, E. T. A. Hoffmann (Germany), George Sand, A. France (France), M. Maeterlinck (Belgium), B. Shaw (Great Britain) and others wrote for it. In the 20th century many famous theatrical figures turned to the creation of the Puppet Theater as the most perfect type of theatrical spectacle (director G. Craig in the article "The Actor and the Superpuppet" propagated the idea of abandoning the actor).

In the 1st quarter of the 20th century. created professional puppet theater for children and adults.

Russian professional puppet theater began to take shape after October revolution 1917. E.S. Demmeni, artists N.Ya. and I.S. The Efimovs and others attracted leading writers, artists, and composers to create a Puppet Theater for Children, which would set broad social and pedagogical tasks and promote new socialist forms of relations between people.

The Soviet Puppet Theater reflects the bright, characteristic features and psychology of a person in their most general manifestation, strives for typicality, brought to the figurative common noun.

Central Theater puppets under the direction of S. V. Obraztsov are the spokesman for these ideas. His performances "By the Pike" by Tarakhovskaya (1936), "Aladin's Magic Lamp" by Gernet (1940), "The Stag King" by Gozzi (1943), "An Extraordinary Concerto" (1946) and many others laid the foundation for the director's method and systems of work of actors-puppeteers on stage images, which allows creating an evolutionarily complex, psychologically justified score of the role, truthfully showing the fate, character, and features of the stage image.

Puppet theaters turn to the language of stage pantomime (“A Hand with Five Fingers” - the Romanian theater “Tsenderike”), stage musical works("Peter and the Wolf" by Prokofiev - the Central Puppet Theater of Bulgaria; "Petrushka" by Stravinsky, "The Wooden Prince" by Bartok - the Central Puppet Theater of Hungary; "The Story of a Soldier" by Stravinsky - the Central Puppet Theater of Bulgaria and the Riga Puppet Theater; bird" by Stravinsky, "The Sorcerer's Apprentice" by Duke - Minsk Puppet Theatre).

The figurativeness of performances is achieved by using the whole variety of stage techniques (a live actor, a played object, a radio recording and lighting effects are involved in the action). The desire to pose social, moral and ethical problems, to the art of bright and catchy theatricality forms a new type of puppet theater (The Clockmaker, Kralí Marko by Teofilova in the Central Puppet Theater in Bulgaria, Don Cristobal by Garcia Lorca and The Little Prince by St. Exupery to the Puppet Theater "Tsenderike", "The Adventures of the Good Soldier Schweik" by Chapek at the Leningrad Bolshoi Puppet Theater, etc.).

Since 1958, within the framework of the International Union of Puppeteers (UNIMA, founded in 1929), international festivals, competitions, which promotes the exchange of experience of figures. Puppet Theater In 1976, the 12th UNIMA Congress was held in Moscow (SV Obraztsov was elected president). In the USSR in 1975 there were more than 100 Puppet Theaters that staged performances in 25 languages of the peoples of the USSR. The training of creative personnel is carried out at a special department of the Leningrad Institute of Theater, Music and Cinematography, in State Institute theatrical art them. Lunacharsky (directors and artists), the school. Gnesins and in the studios at the Puppet Theater Material on the history of the Puppet Theater is collected and systematized by the Theatrical Puppet Museum at the Central Puppet Theater (founded in 1937). In amateur performances, especially in schools, palaces of pioneers, etc., the puppet theater is very popular.

2. Batleyka - folk puppet theater in Belarus

Batleyka (Betleyka) is a folk puppet theater in Belarus (16th - early 20th centuries). The theater "Batleyka" appeared in Belarus at the beginning of the 16th century. Its name comes from the word Betleem - Bethlehem. According to the Gospel, this is the birthplace of Christ. The history of the theater is connected with the Christmas holidays. Initially, all stories were shown exclusively on biblical themes. And the heroes were the Virgin Mary, the Infant Jesus, the saints. By the way, the word "puppet" comes from the name of small figurines of Mary participating in medieval mysteries. Later, interludes appeared - comedy-everyday episodes, alternating with canonical scenes.

To display batleikas, a house of arbitrary size was made of wood, usually in the form of a dwelling or a church. It had horizontal tiered scenes with slots for puppets. The design was decorated with multi-colored paper, fabric, as well as thin laths, which from a distance resembled a balcony.

Icons, stars, windows, crosses were painted in the background. The puppet was attached to a wooden or metal rod, with which it was possible to drive the character along the slots in the floors of the stage. Shows were always accompanied by music, songs; the stage and puppets were lit by candles.

Batleynik often was not only the only performer, but also a playwright, director, composer, entertainer.

There were batleikas with changing transparent decorations (in Dokshitsy), as well as those arranged according to the principle of a shadow theater (in Vitebsk).

They used string puppets and glove figurines in performances. Shows were held not only in major cities but also in remote villages.

Batleyka could be the size of a small nightstand. The wandering actor came with her to the village, gathered the whole district around him, and puppet passions boiled. It turned out such a kind of TV.

The performance consisted of two parts: religious and secular. Each was played on its own tier, upper and lower.

The secular repertoire with comical, sharp scenes enjoyed the greatest popularity. And since the audience was ordinary people, then the characters, characters, events were familiar, understandable, recognizable.

Satirical images of a charlatan doctor, evil landowner, the greedy merchant was opposed by a quick-witted and cheerful hero from the people. Quite often performances were organized by the city authorities together with handicraft workshops on the days of major fairs and holidays.

Religious mysticism and worldly realism, piety and blasphemy constantly collided and, meanwhile, organically combined in the batleyka. Therefore, the performances soon began to provoke attacks from spiritual and secular authorities.

After the October Revolution, such folk puppet theaters began to decline altogether. This was facilitated by the persecution communist party against the church and all dissent.

The last recorded shows took place in the Slutsk region in the early sixties. Batleyka puppet theater

Today, the national puppet theater "Batleyka" is being carefully and diligently revived by a few enthusiasts. In 1989, Galina Zharovina created a museum and theater-studio "Batleyka" in the urban village of Mir, Grodno region. Together with her students, she staged the performance "King Herod", "Anna Radziwill" and many others there.

3. Classifications of puppet theaters

3.1 Classification according to the principles of social functioning

Within this classification, the following main areas of puppet theater can be distinguished.

Ritual and ceremonial is the most ancient form of puppet theater. Back in the 16th century. BC. in Egypt there were puppet mysteries about Osiris and Isis. Mentions of play dolls are found in Herodotus, Aristotle, Horace, Marcus Aurelius, Apuleius and others.

Most often ritual and ceremonial puppet theaters are the most traditional theatres, strongly connected with national traditions.

A number of puppet theaters of the East developed in this direction:

Indonesian wayang;

Japanese joruri;

Indian;

Chinese, etc.

A number of theaters of the Christian tradition also belong to ritual and ritual ones.

The doll participated in European mysteries of the 11th-16th centuries. (The term puppet, denoting a type of play dolls, arose from the name of the figurines depicting the Virgin Mary in the mysteries). Later European ritual and ritual puppet theaters (mainly Christmas ones) have survived to the present: El Pastorets (Catalonia); Nativity scene (Ukraine and Russia); Batleyka (Belarus), Malanka (Moldova); Shopka (Poland) and others.

Often performances of ritual and ritual puppet theaters are organized by non-professional actors, because the main meaning of such spectacles is not a performance, but an action, a mystery. In this mystical direction, the unique theater “Vgeayo apo Rirre!” (“Bread and Doll”) by Peter Schumann (Vermont), which has no analogues in world history.

National satirical puppet theater. The origins of this species are considered to be the ancient Roman improvised sketches of atellan (from the city of Atella in ancient Campania).

Topical satirical scenes were built on the participation of typed characters, one of which - Mack - became the prototype of the main comic puppet character of the folk theater.

In various countries, this jester character had a similar appearance: big-headed, hook-nosed, with one or two humps - in front and behind.

In Indian theatre, this is Vidushaka; in Turkish (and Armenian that came out of it) - Karagyoz; in Central Asian - Palvan Kachal (Bald Hero); in Italian - Pulcinella; in English - Punch; in German - Hanswurst; in French - open; in Belgian - Voltier; in Russian - Petrushka (Petr Ivanovich Uksusov, Vanka Ratatouy and); etc. This character to a large extent retains the most ancient features of the archaic pratheater - both in its character as a trickster's double-shifter, and in the puppeteer's devices (for example, a squeaker, a tool for changing the voice, which came from shamans' rituals).

This direction was practiced mainly by itinerant actors.

Popular satirical puppet theater is characterized by conventionality, minimalism of design and other visual means; a simple standard plot scheme, within which there is improvisation on topical topics.

Puppet theater for children. Mostly built on fairy-tale material. As a rule, it combines two functions - educational and entertaining.

Due to its specificity, it has a high degree of didacticity - explicit or implicit.

Within the framework of the same classification, a number of additional areas of puppet theater can be distinguished. For example: - allegorical-symbolist theater (performances are addressed to an adult audience); - theater of mass and collective holidays (giant puppets work in direct contact with the audience, involving them in a joint action); - medical theater (the doll is used in the treatment of certain mental illnesses and for the development of fine motor skills).

3.2 Classification of puppet theater by types of puppets and methods of their control

It is more of an auxiliary professional character, because often in one performance different types of theatrical puppets are used.

The most famous types of dolls are: glove (finger variety); cane; puppets; flat (used in the shadow theater); machines (mechanical). In the modern puppet theater, the so-called puppet theater is also widespread. "live plan", when the actor controls the puppet openly, in front of the audience, sometimes interacting with it.

In such a theater, a technique is especially common when any object acts as a puppet - from a household item to a specially made object - which depicts an animated character and is controlled by an actor.

These types of puppet theater classifications are quite conventional and exist in constant flexible interaction.

So, for example, the ritual-ritual Indonesian theater of wayang includes varieties of wayang-kulit (shadow theater of leather flat puppets), wayang-kelitik (theater of flat cane puppets), wayang-golek (theater of three-dimensional puppets). Puppet theater for children constantly uses all kinds of puppets. Puppets are used in satirical folk theatre; etc.

4. The magic of the puppet theater

What child has not dreamed at least once that his favorite toys, which have become best friends came to life and spoke? So that they can open the dungeon of their static nature, tell about themselves, become real partners in games? And even robot dolls are not able to fulfill this dream, because their movements are mechanistic and, perhaps, even more distant from the desired "revival" that a child desires. But it turns out that the miracle of a "live" toy is still possible!

About a soft rag doll that can be "revived" with the help of a hand and "animated" by the power of one's emotional experiences. Have you ever introduced your child to a soft toy - a glove? If so, remember his first reaction. He is already accustomed to the ordinary dolls surrounding him, frozen in one pose and expressing only one emotion, or even completely indifferent. And then suddenly he sees a doll that reaches out to him with its hands, nods its head, bows naturally and greets him as if by itself ... Amazement, curiosity, the desire to touch and unravel the mystery of the "living and talking" toy - everything is simultaneously expressed on the face. The first indelible impression is followed by mastering the possibilities of the doll, which turn out to be almost limitless.

What are the advantages of such a toy?

First, by putting the doll on his hand, the child "merges" with her, is identified with the character he will play.

With its help, he can not only practice behavior patterns, as he does with an ordinary doll. With her, he is able to emotionally express everything that disturbs and excites him, speaking not on his own behalf, but on behalf of a fairy-tale character living in an imaginary world. By the way, that is why the glove puppets are used by child psychologists in psycho-correctional work.

At the lesson, the psychologist invites the child to play out a scenario specially invented for him. In the process of presenting, in one form or another, recreating a traumatic situation for the child, the baby, using a glove doll, expresses his feelings and aggression. Thus, children get rid of the fears and negative emotions that tormented them.

Secondly, the glove doll itself carries some emotional image. As a rule, a doll - cheerful or sad - depicts a positive or villain any fairy tale, cartoon or TV movie.

Playing with a doll, the child psychologically experiences the role. This means that he acquires the much-needed emotional experience of going through polar states.

Several different character dolls-gloves will help the child answer the question of what it is like to be evil or kind, deceitful or truthful, smart or stupid, gullible or suspicious, courageous or cowardly, open or withdrawn, irritable or calm.

And finally, most importantly, what is it like to be an adult? In the game, he is no longer a child, he is an adult: he solves adult problems, copes with life situations on his own, makes his own choices.

The advantage of puppet theaters is that, as a rule, they are all based on fairy tales known and loved by children. We all know that without fairy tales, the full development of the child is impossible.

The fairy tale touches the deepest layers of the human psyche and reveals the fundamental human values. The beneficial effect of fairy tales even on the psyche of an adult is obvious.

For a child, a fairy tale is an opportunity to learn how to think, evaluate the actions of heroes, learn ethical standards, develop memory and speech.

The rhythmic, simple and melodious language of fairy tales, full of repetitions and steady turns (“once upon a time”, “live and live and make good”, “runaway bunny”, “sister fox”), greatly facilitates the understanding of fairy tales and trains the child’s speech apparatus when telling a story aloud.

IN theater production the whole family can participate, and to make it more interesting for the child, invite his peers to play. Have each child choose a character they like.

Teach children to name aloud their role and explain their actions in the game, voice the character.

Each of the characters must speak with a special intonation, expressing only his characteristic character.

And remember, the theater is a magical act, for which you need to provide an appropriate "magical" environment: twilight, backstage, with the help of candles or multi-colored lighting, you can create a mysterious play of light and shadow.

But back to talking about usefulness. What else gives a child playing puppet theater?

Recall that the doll is completely subject to the child, depends on him. This gives the baby the opportunity to model their own world, which will be a reflection of the "real" world, the world of adults. In this simulation, two very important developmental processes take place in parallel.

On the one hand, this is imitation of adults, which is one of the key factors child development. Over and over again, the child repeats the movement, situation, phrase, story, while monitoring the reaction of others. Through this imitation, the child learns self-determination.

The second process is opposite in its essence, but internally closely related to the first. This is the process of creating one's own, new world, i.e. creation.

The plot of the story is only a support for the child, only an impetus to independent creativity. Ideally, a child needs a puppet theater as an opportunity for endless experiments, modulations.

What is creativity?

This is the ability to create your own ideas, not to act on patterns and prompts. Creativity is laid down in childhood and develops on the basis of one's own activity, interest the real world. Therefore, it is so important to give the child the opportunity to freely cognize the surrounding reality. Encourage him not only to learn, remember and "correctly" play this or that role, but also to develop his plots, free play in which he can realize his fantasies. This is how the foundation of the future is formed. creative perception peace.

The opportunity to form this basis, and gives children the game of puppet theater.

All children love performances. They like not only to watch the performance, but also to be artists themselves. The desire to play is inherent in the child, everyone wants to play his role. But how to do that? How to teach a baby to play, take on a role and act? This is exactly what the puppet theater will help.

Theater is one of the most democratic and accessible forms of art for children.

It allows solving many urgent problems of modern pedagogy and psychology related to artistic and moral education, the development of the communicative qualities of the individual, the development of memory, imagination, fantasy, initiative and emancipation.

Because it is closer to our children. Playing with dolls, a shy child feels freer and begins to speak freely. Puppets will help teach important lessons.

Puppet theater that children can get acquainted with in class or in special circles, contribute to the development of fine motor skills and hand coordination, stimulate visual and auditory perception, attention, memory, coherent speech, increase vocabulary. Scientists have proven that the development of the hands is in close connection with the development of the human brain, therefore, the speech and thinking of the child.

In the classroom, children can also get acquainted with the history of puppet theater.

Classes also contribute to the development of facial expressions, imitative skills, improvisation skills, stimulate emotional perception, develop initiative, imagination. These activities contribute to the emancipation of children through play, imitation, freedom of choice, the development of speech, and fine motor skills.

Schoolchildren, under the guidance of teachers or parents, can also make dolls, be not only listeners, but also full-fledged participants in the performance.

5. Puppet theater and school

The puppet theater can come to the rescue in learning foreign languages, as well as in getting acquainted with literary works.

Dramatization using puppets is very popular among students in grades 2-5.

The organization of a puppet theater does not require complex costumes and scenery.

Theatrical performances are an important and necessary element in the process of studying foreign language. Such a serious obstacle as the “language barrier” becomes easily overcome as soon as students find themselves in a game situation, role interaction, are involved in a common creative process. The theater turns the “eternal C student” who is unsure of himself, stuttering at every word, into an inspired Romeo, uttering monologues in one breath.

It is also important that joint work on a performance or preparation for a holiday develops the participants' ability to listen to a partner, creates conditions for mutual understanding and mutual assistance (strong students help the weak), strengthens responsibility for the success of a common cause.

At the same time, for the teacher, work on the script, rehearsals, in addition to additional time for practicing pronunciation, introducing and reinforcing lexical units, provide a unique opportunity to communicate with students, and in a context that is new for both parties.

The usual roles of teacher - students are transformed into a different model of relations - director and actors.

The scenario of performances should be built on the studied lexical units, grammar and speech structures. With all the virtues role play, dramatization using puppets has specific features. Depending on the desire of the students, the doll acts as a friend with whom they have a conversation on an equal footing, a child who needs to be taught everything, a partner in some kind of activity. In the form of a game, the child models his behavior as the behavior of dolls. He is passionate about this activity, as he feels like an authoritative person who knows everything and can do everything.

As a result of the increased level of language proficiency, students can be offered to engage in staging or staging of any literary work.

Staging is a more active and complex process of embodying an image than dramatization, since it is based on a deep intellectual and emotional comprehension of the author's intention, the nature of the images and the ability to embody them on stage.

In staging, the sequence of creative stages is more clearly traced: “the period of knowledge”, “the period of experience” and the “period of incarnation”. The implementation of these stages contributes to the improvement of communicative activity, the development of emotionality, the solution of problems of aesthetic and moral perception, the development of creative abilities, skills and abilities in their organic unity.

It is advisable from the very beginning of work on staging to provide students with a choice of work, to help them understand and feel the behavior and speech of the characters, to work out the expressive reading of the chosen role.

In order to increase interest in theatrical business on a school scale, I recommend putting on real performances once or twice a year

The management of such an activity as dramatization makes special demands on a foreign language teacher in terms of increasing the level of intonation, voice range, facial expressions, and gestures.

In an effort to develop stage qualities in students, the ability to impromptu, he must also be constantly ready to demonstrate to them possible options for embodying the role, constructing mise-en-scenes, decoration. In staging dramatizations, not a single even the most advanced technical means is able to replace the influence of the teacher's personality on the formation young talents and develop their ability to communicate.

IN modern methodology School education pays serious attention to puppet shows, so you should thoroughly master the methods and techniques for using puppet shows.

As mentioned earlier, puppet theater will help the child to listen more consciously literary text, to present the characters more vividly, to follow the development of the action more actively.

In addition to these methods of work on the formation of a literary taste in children, an adult must master the techniques that allow the inclusion of a literary word in the daily life of a child.

Conclusion

Adults do not play with toys for one, quite reasonable reason: they do not have enough time and energy for this. To play as children play is the most serious occupation in the world; and as soon as the vanity of petty duties and troubles falls upon us, we have to give up such a huge, daring undertaking. We have enough strength for politics and business, for the arts and sciences; but for the game we are weak.

This truth is recognized by everyone who has ever played anything - built a house out of cubes, nursed a doll, arranged tin soldiers.

Adults do not play like children, not because they are not interested, but because they have no time. They cannot spend time and energy on such a great cause.

The philosophy of puppet theaters is worthy of all attention. Everything that modern people need to understand can be deduced from this toy.

Now it is impossible to say exactly when the first doll appeared in the world. From archaeological excavations and historical sources that have come down to us, we can conclude that at all times dolls have been constant companions of man.

Here is a primitive man putting on a ritual mask. The ancient Egyptians made stone statues for festivities dedicated to the gods Osiris and Isis.

Ancient Greek actors put on masks of evil and good heroes gods and mere mortals. Giant ancient Roman statues turn their heads and nod. Catholic Madonnas shed tears. And the people's Petrushki, Panchi, Polichineli, Hansvursts vilify the clergy...

The art of puppet theater is by nature folk. Puppet theaters now exist in professional puppet theaters, at schools, kindergartens and simply in large friendly families.

Remember that each of us in childhood probably had his own puppet theater. It did not have a screen, scenery, lighting equipment, specially made dolls. He existed simply in the world around us and a little bit in our imagination. But how rich and varied it was! Here in the sandbox fortresses are erected. Their steep walls are stormed by tin soldiers. And when there are no soldiers, their place is taken by wooden matches with the commander Box. Small pieces of wood and the simplest paper boats float in fast, cheerful streams, but black grouse are already high-speed frigates, schooners, caravels.

Puppet theater begins with these games. Playing with the subject is its origins.

Theatrical games are always loved by children. Children are happy to join the game: they answer the dolls' questions, fulfill their requests, give advice, transform into one or another image. They laugh and cry with the dolls, warn them of dangers, and are always ready to help their heroes.

It is useful to have a puppet theater wherever children are: at school, in kindergarten, at home, in a summer children's camp, in a children's hospital, etc.

Children's classes in the puppet theater develop children's imagination, memory, thinking, artistic abilities, introduce them to many children's fairy tales, contribute to the development of sociability, sociability of the child, develop the motor skills of the child's hands and fingers, and the child's motor activity.

Participating in theatrical games, children get acquainted with the world around them. The great and versatile influence of theatrical games on the personality of the child allows them to be used as a strong, but unobtrusive pedagogical tool.

Children love to play, especially with peers. The game for them is a serious matter, but at the same time, fun.

It is always a great pleasure for parents and teachers to watch how children at home or in kindergarten or at school talk on behalf of their dolls.

Children feel the need to try themselves in a variety of roles. And when an adult asks in the voice of Petrushka: "Well, what is everyone gathered for?" or jokes with a clown on his arm, then all the children immediately pick up the game willingly. Such communication develops much better than television.

Puppet theater is a common phenomenon in our life. The childhood of every child, his aesthetic education begins, as a rule, with puppet shows.

Applications

Fig.1 "Parsley"

Fig.2. "Glove Doll"

Fig.3. "Batleika".

Fig.4 "Puppet"

List of used literature

1. On the theory and practice of children's artistic creativity. Vetlugina N.A. Moscow Ed. - "Neva". 1991

2. Puppet theater. Rostov-on-Don: "Phoenix", 1999

3. Batleika. Mn.: “Youth”. 2000

4. The history of the development of the puppet theater. Moscow. Ed. - "Neva". 2000

5. Aesthetic education junior schoolchildren. Tsvetkova I.V. - M.: Pedagogical Society of Russia, 2003.

6. Pedagogy (lecture notes) - M .: ”Prior-izdat”, 2004

7. Gnutikova S.S. History of the Museum of Theater Puppets SATTK named after S.V. Obraztsova: creation of a catalog-guide to the museum // Preservation cultural heritage peoples of the world. Tez. report - M., 2005.

8. Gnutikova S.S. Museum of theatrical puppets SATTK named after S.V. Obraztsova// Dolls of the world/ Ved. ed. E. Ananyeva; resp. ed. T. Evseeva. - M., 2003.

9. Gnutikova S.S. Museum of theatrical puppets SATTK named after S.V. Obraztsova// Museums of Russia/ ed. group: M. Shinkaruk, N. Ivanova, E. Evlakhovich and others - M., 2008.

10. Gnutikova S. Birth of the Museum// Theater of Miracles. - M. 2002.

11. Gnutikova S.S. Theatrical puppets// Museum of theatrical puppets S.V. Obraztsova. - M., 2005.

12. Gnutikova S. Keepers of puppet treasures// Theater of Miracles. - M.2002.

13. Soviets V.M. Theatrical puppets (manufacturing technology).-- SPb., 2003.

14. Quoted. Quoted from: Moskalev I.M. Lenora Shpet: life and theater lessons. - M., 2005.

15. Solomonik I.N. Man on the Stage of Traditional and New Puppet Theatre// International Symposium of Historians and Theorists of the Puppet Theatre. - M., 2009.

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DIY finger puppet theater

Do you want to develop fine motor skills baby, speech, thinking and just be able to cheer up the whole family, then turn the room into a temple of art. To do this, you need to know how to make a finger puppet theater with your own hands.

For this you will need:

felt;
threads;
scissors.

As you can see, the characters of the fairy tale "Turnip" are cut out very simply. Each hero consists of two identical parts. But on one side you need to embroider facial features with threads. You can make them and cut them out of dark felt, and then glue or sew.

Fold 2 blanks of the character with the wrong sides, sew along the edge on a typewriter or with a thread with a needle in your hands.

To make a beard for grandfather, wind the threads around your fingers in several rows, cut them on one side. Fold these identical threads in half, sew the beard in place.

But what can be the heroes of the fairy tale "Rocked Hen".

Cut out the beard and bangs of the grandfather, the hair of the grandmother from gray felt. It will also help create a mouse with a long tail. These puppets for the puppet theater can be sewn. If the baby will wear them, cut them out so that they are the size of his fingers. If the performance will be shown to children by adults, then cloth puppets should be slightly larger.

Check out one more interesting idea. This can be a home puppet theater for staging the fairy tale "Turnip". In kindergarten, it is better to have larger characters so that the whole group can see them from afar. But you can also do this by taking:

modeling paste (preferably Jovi, which does not need to be fired, it hardens in air);
yellow and green paste Jovi Patcolor;
acrylic paints;
brushes;
markers;
stacks.

Let's sculpt the grandfather first. Take a piece of pasta measuring 2x3 cm, roll a sausage out of it, form a cylinder. You should get a kind of nesting doll with a torso and head, and at the bottom there will be a notch for a finger.
Separately fashion the handles, attach them to the body. But mark the facial features, beard, mustache with the help of a stack.
By the same principle, fashion a grandmother, granddaughter and animals. When these characters are dry, paint them with acrylic paints.
For a turnip, roll a ball of yellow paste, pull it out a little from above, insert green plastic tops here, fix it.

When sculpting with paste, you will find that it dries quickly in the air, so periodically moisten your fingers with water.

This is how you get a finger puppet theater, with your own hands the child will be able to play the fairy tale "Turnip" or come up with his own plot with some of these characters.

Table theater do it yourself

If you want to have a tabletop theater with paper dolls, then zoom in on the next image. Print it on a color printer on thick paper. If this is not possible, attach a sheet of thin paper to the screen, transfer the outlines to it. Then place on cardboard, draw outlines, let the child decorate the characters with colored pencils or paints. It remains to cut out the images, glue each one on the side and glue the top of the head to the head.

And here are some more templates, according to which puppets for the theater are easily made. With your own hands or, having given the blanks to the child, cut them out along the contours, glue them in pairs.

If a small rectangular sheet of colored paper is glued on the side, you get a small tube. It should be such that it sits well on the finger. Glue the ears, nose, eyes, front paws to the blank, and you get the hero of the finger puppet theater.

These characters can be made from the most unexpected materials. See how to turn plastic spoons into stage characters.

To make such toys for the puppet theater, take:

plastic spoons;
colored paper;
scissors;
finished plastic eyes;
glue gun;
textile;
narrow tape, scissors.

Then follow these instructions:

Use a glue gun to glue the finished eyes to the convex side of the spoon.
Turn a piece of fabric tied with a ribbon into a dress. For male character just stick a bow tie around your neck.
Cut strips of colored paper with a fringe on one side, glue this hair. Pieces of colored cotton wool will also replace them.

Everything, the children's puppet theater at home is ready. Take a large cardboard box, cover it with colored paper, turn it over. Make slits in the bottom with a knife, insert spoons here and lead the dolls along these holes, as if along a path.

Other characters are controlled in the same way, for the creation of which you will need:

ice cream sticks;
children's magazines;
glue;
scissors.

Let the child cut out pictures of people, animals from a magazine or from an old book, stick them on sticks.

If you want to make another tabletop theater, then milk bottle caps will come in handy. Plastic cups for yogurt.

Glue on the back of these items paper heroes fairy tales, and you can play old stories with them or invent new ones. The background is created from a large sheet of cardboard, which is painted in the theme.

How to make a screen for a puppet theater?

This is an essential attribute of the puppet theater. Check out the easiest options:

Close the opening under the table with a cloth, tying two of its corners to the top of one and the other leg. The child sits on the floor behind and leads the characters at the level of the table top - just above it.
Take an old curtain or sheet. Collect any of these canvases on a rope, tie the ends of the thread on one and the other side of the doorway. Make a rectangular cut in the center at the top of any of these canvases. It should be at such a height that no child or adult sitting behind the curtain can be seen, who play the role of puppeteers.
For finger theater a table screen is made. The easiest way to make it out of cardboard. The box is taken. It needs to be disassembled, pasted over with wallpaper or colored paper, bend 2 sidewalls so that a canvas of sufficient size remains in the center. A cutout is made in it, through which the puppeteer shows finger toys.

And here's how to make a screen out of plywood. For her you will need:

plywood;
jigsaw;
fabric or piece of wallpaper;
glue;
small door hinges.

Manufacturing instructions:

Based on the dimensions presented, cut out 3 blanks from plywood: the central and 2 sidewalls. Cover them with fabric.
When the canvas is dry, attach the loops to the marked areas so that you can close the puppet theater screen and fold it.

See how to make a cardboard screen to be able to show performances with mitten, glove, cane puppets. It should be such that the puppeteer fits there freely, standing up to his full height. If the performance is shown by children different ages, then the tall ones will kneel, placing a pillow under them.

In order to make a screen, you will need:

PVA glue;
rope or lace;
carton boxes;
wallpaper;
stationery knife;
awl;
roulette;
wide brush;
long line;
rag.

A do-it-yourself screen for a puppet theater is made as follows:

The drawing is given for teenagers or adults whose height is 1 m 65 cm. If you are making a screen for children, reduce this figure.
To make it strong, make it three-layer. To do this, stick a second one on one large sheet of cardboard, then a third one on the other side. Apply PVA glue with a wide brush. Thus, you will make a frontal part - an apron.
The side elements are also made in three layers, but the folds, which you then glue to the apron, should consist of one layer.
Connect the parts by gluing them. When the glue dries, sew in these places with a cord, having previously made holes in the attachment points. Attach the top arch in the same way.

It remains to paste over the screen with wallpaper of a soft color so that they do not distract from the theatrical performance.

We make do-it-yourself doll gloves

These can be seen in a real puppet theater. Puppets wear gloves on their hands. By bending your fingers, you can make the fabric character tilt its head, move its arms.

A children's puppet theater at hand will have many characters if you use the suggested template.

But it is not necessary to create all the heroes at once. Let's start with two - bunnies and a pig. Having understood how to make such dolls gloves, you can sew others, thereby gradually replenishing your theater.

If you then make human dolls, you can make a hairstyle from fabric or thread.

The thickness of the character's neck should be such that the puppeteer would stick his middle and index fingers here to control the hero of the performance.

Before sewing puppets for the theater, place a puppeteer's glove on the recut pattern to decide if the base is suitable. If not, then increase or decrease it. You can do without a glove by putting the puppeteer's hand on the base pattern. Keep in mind that the character will not be static, so you need to add a little on all sides for a loose fit so that the fabric of the hero of the action does not stretch while controlling him.

So, here's what you need to sew a glove doll:

artificial fur and / or plain fabric;
tracing paper or transparent paper or cellophane;
pen;
scissors;
threads;
eye buttons.

Enlarge this pattern. Attach a transparent material to it (cellophane, paper or tracing paper), redraw. Cut along the outline.

Lay the pattern on the fabric folded in half, cut out with a 7 mm seam allowance. For a bunny, it is better to take a gray fabric or white fur, for a piglet - pink.

If you want to draw facial features, ponytails, palms, hooves, then do it now before sewing both halves of each character. Take special fabric dyes that do not fade when washed. If there are none, then use watercolor, gouache, but first apply a PVA solution to the fabric, after it dries, paint this place, but use a minimum of water. When the paint dries, put another layer of PVA on top to fix it.

But it is best to embroider the nose, mouth, pulling these sections on the hoop or sew on blanks of the appropriate colors and buttons-eyes.

Cut out a white fur shirt-front for the bunny glove doll, sew its triangular part to the front half, and the semicircular, in the form of a collar, to the back. A tail is sewn to the same reverse side, and white paws with or without pink claws are attached to both parts.

When sewn on small parts, you can grind both halves of the doll on the wrong side on a typewriter or on the face - on your hands. In the latter case, use a seam "over the edge" or take an inlay of a passing color, turn around the side seam with it.

In this technique, other glove dolls are also created, for example, a pig.

When the sides are stitched on all sides, hem the bottom. The ears of the characters can be stuffed with cotton wool or padding polyester. Fill the nose of the piglet with any of these materials, only after that sew this “patch” to the head. Make an applique on his cheeks, giving them a blooming look. It remains to sew some yellow threads between the ears, and another glove doll is ready.