Christian Resources. Theater dolls. General information on making dolls Recommended list of dissertations

In kindergartens you can find a wide variety of representatives puppet theater- from spoons and brooms to the most complex cane puppets, requiring at least two actors to control.
But making dolls is one thing. Putting on a puppet show is another thing. And combining puppet theater with pedagogical principles is something third.
Of course, creating characters is a fascinating and educational process in itself. But he is more associated with the visual arts than with the theater. (By the way, the first post-revolutionary puppet theaters were organized by school art teachers.) A play for children, staged by adults, also always fits well into the mosaic pedagogical life. But you can’t say that clearly about a performance staged by children. I always want to ask about the price paid for the tickling of parental vanity and the applause of high-ranking guests: are tedious rehearsals, which take away time from games and walks, really necessary for the development of children? Where does pedagogy end here and “work for results” begin, inevitably associated with children’s “training” and children’s fatigue?
By definition, the creativity of preschool children cannot be product-oriented. Only for the process. Behind the many puppet theaters set up in theater corners and placed on tables in groups, the process is not always captured. Is this a decoration for children or adults?
True, some dolls - mainly those that “know how” to stand - are used by children in role-playing and director's games.
But such a doll can hardly be called “theatrical”: it does not require specific handling skills.
But you can’t just play with a glove puppet: “it takes skill.” The teacher, however, often has little idea of ​​what it is. And no wonder. Even in the country's theater universities there are no special faculties for actors and directors of puppet theaters. They become “in life”, in some special way.
Inna Yaroslavtseva, teacher of additional education at Moscow kindergarten No. 1435, is a real “puppeteer”, happily combining theatrical, artistic and pedagogical principles. Inna considers herself lucky: at one time she completed puppeteering courses at the State Academic Central Puppet Theater named after. S.V. Obraztsova.
Professional skills in working with a doll are combined in her work with a seriously thought-out pedagogical strategy.
We have dubbed Yaroslavtseva’s system of work “children’s puppetry” and today we introduce readers to some of the principles and techniques of this work.

Doll salon - the prototype of the World of Dolls

The center of the doll life of the kindergarten is the so-called “Doll Salon”. It was created in the image and likeness of the Puppet Museum in the Model Theater. Of course, the kindergarten salon cannot yet claim the status of “historical”: of all the dolls, only the pig Piggy is a rare exhibit - a real “actor” of the program “Good night, kids!”, who retired and was donated to the museum by the performer of the role.
But the operating principles of the salon are the most exemplary. Theater puppets of all kinds live here - they “rest” after performances and classes. New theatrical ideas are born here.
The salon is small. It can accommodate 8-10 children, sitting on the cushions. The idea for the pillows was also borrowed from the Doll Museum. There, pillows are given to excursionists traveling through the doll kingdom: they are mobile and do not take up much space. The children were tired and sat down on their pillows. It is necessary that they stand in a circle, the pads easily fold into a stack and move into a corner.
Each new cycle of classes with children begins in the salon. A spectacle of dolls of different designs, different sizes and purpose creates in children an idea of ​​the puppet theater as a whole huge world with almost inexhaustible stage possibilities.
Any doll can be removed from its place, “revitalized”, and entered into communication and conversation with it. Children will happily recognize some dolls: they remember them from performances and “variety” numbers performed by teachers or older children. Other dolls are still unfamiliar: the teacher can demonstrate to future “puppet experts” the principles of “revitalizing” them. Controlling some “puppet” actors is a complex art: sometimes it requires not one, but two or even three pairs of hands. But challenging prospects should always rely on simple techniques available to the child today. Children never leave the salon without mastering at least a little puppeteering trick.

From simple to complex

There are a lot of tricks of puppeteering. How, for example, can you turn an ordinary rubber toy into a theatrical puppet - the one that squeaks?
Yes, it’s very simple: attach it to a stick. In the language of puppeteers (“puppeteers”?) such a stick is called a gapit. IN professional theater With the help of hapit, the actor controls the doll's head - makes it nod, look in different directions, look up, etc. A rubber toy on a stick, of course, is not capable of such “motor activity.” But thanks to gapit, she still gets new opportunities for a variety of movements. The teacher can demonstrate them to the children at the edge of the tabletop: rocking from side to side, bowing, turning, “running,” “jumping.” This is a lot. And most importantly, children are able to repeat such movements. Or better yet, discover them for yourself.
Search situation - new movements, new expressive poses, voice modulation is a principle on which Inna Yaroslavtseva constantly insists.

Brooms-storytellers from the play “Masha and the Bear”.
Work of teacher Anna Zhdanova, d/s No. 1435, Moscow

Theater is first and foremost the art of improvisation. Children must be given the opportunity to improvise; they must be placed in conditions where it is impossible not to improvise.
There are a lot of tricks associated with turning a hand into a doll. (More precisely, the hand: a real puppeteer is equally skillful in using both his right and left hands.)
The hand and fingers can do a lot on their own. Both teachers and children are familiar with their finger gymnastics capabilities.
But to make the hand plastic more expressive, you need to wear a glove. A “dressed” hand is the first step towards transformation. True, the glove not only brings the child closer to creating a doll image, but also makes inaccuracy and blurriness of movements noticeable. How once then, which is necessary for unobtrusively practicing the puppeteer’s technique.

A glove plus a ball - you get Parsley

A glove and a table tennis ball with a hole for a child's index finger - the prototype of the glove doll is ready.

This doll already knows a lot and can teach a child a lot: to express the doll’s emotions by tilting the head and gesturing the arms (movements of the fingers), to depict the mood and intentions of the doll through its gait (movements of the hand and arm).
In other words, the glove and ball help the child take a step towards creating a character image.
Inna uses woolen gloves in her work - those that are considered dimensionless and stretch to fit the size of the hand. After all, if the glove is large, it is difficult to achieve beautiful movements dolls, and the head will sit crookedly, or even fly off.
The glove and ball have another remarkable feature: they clearly demonstrate not only the ways of creating a generalized image of a theatrical puppet, but also a specific character.
It is enough to offer children a certain set of additional accessories - “skirts” with elastic bands, caps, hats, wigs, aprons - and they will happily dress up the dolls, turn them into a “granddaughter”, into a “lady”, into a “kikimora” - whatever it will work out.
And if you glue a cap on a tennis ball, you get Parsley - one of the most famous characters in the history of puppet theater.

Working ideas for puppet pedagogy

Real theatrical puppets usually require painstaking work. Each character takes a lot of time and effort from its creator. That's how it should be when we're talking about about professional theater.
But within pedagogical everyday life, simple solutions to complex problems are no less, if not more important - those that allow you to create in a matter of minutes not one, but, for example, a dozen dolls for each of the children present.
“Producing” parsley from gloves and balls is one such wonderful discovery.
If you take a colorful umbrella (following the example of Ole Lukoje), tie ribbons of all the colors of the rainbow to it, invite the children (let’s say there are ten or twelve of them) to grab the ribbons and run to the music around the leader, who slowly turns the umbrella, you will get a real carousel. The idea is not new, often used for performances at fair festivities and all sorts of fun activities. But if each of the children wears a colored glove with a parsley head on his hand, it will no longer be just a carousel, but a “Parsley Carousel” - an attraction that is qualitatively new, spectacular, enriched with “puppet” content.
One of the most important advantages of such a carousel is the absence of the need for lengthy rehearsals. Children can get into the action almost immediately if they are familiar with the glove puppet and have a taste for musical games.

Puppet pedagogy versus puppet shows

This principle - minimizing stage training - is consistently defended by Inna Yaroslavtseva. It would seem that the puppeteer, who knows a lot about both puppets and puppet performances, was ordered by God himself to stage “grand” performances. No! In the first years of her work, she still followed general stereotypes: if there is a puppet theater in a kindergarten, then there should be children's performances. And now she has given up on it. She almost refused: among the children there are also “fans” of dolls, gifted puppeteers who are ready to make any sacrifices to participate in the performance. But this - special cases, requiring special solutions.
For the most part, staging children's plays does not justify itself: they require too much effort from the child. Rehearsal period rarely pleasant for both the teacher and the children.
It is much easier, more rewarding and more effective to prepare separate, short-term numbers with children, close in nature to the game. Take, for example, the famous “frogs”. These tablet dolls, controlled by children, showed themselves wherever they showed themselves: at the review-competition of children's puppet theaters at the State Central Theater Theater named after. S.V. Obraztsova, and at the “Young Talents of Muscovy” festival, and at garden holidays!
It’s not difficult to make a frog: a plastic bottle covered with green fabric, hind legs with elastic bands that fit on children’s legs, two canes with the help of which the paws and arms are set in motion...

It's not difficult to do. Inventing it is expensive! The peculiarity of the doll is that any - even accidental - movement of the child makes the frog move comically. Driving such a doll is like a win-win game: whatever you do, everything is right and funny. Just what the viewer demands.
Well, if the movement is accompanied by music, a funny song, a poem or a funny performance, the performance will turn out great! It falls to the puppeteer to improvise: the bolder, more independent and unexpected the child acts, the more interesting his frog is.

Details of professionalism

Creative discoveries like the “frog number” do not happen by accident. This is possible only in the practice of a Master, a professional in his field. Professionalism is evidenced by many details in the arrangement of Sadov’s Puppet World.
Where, for example, can you see that the stage space of a mini-theater in a kindergarten is covered with black fabric? Black color and children? This combination simply does not fit into the heads of teachers. But black has its undeniable advantages: it does not catch the eye and does not distract attention with excessive variegation. In other words, it can be “invisible”.
What is the main task puppet show? Show the viewer a doll. The presence of a human actor should be virtually invisible. If a professional puppeteer drives a floor puppet, he dresses in black. The black figure, like a shadow, practically dissolves against the black backdrop, and the viewer sees only the doll - bright, colorful, expressive, only communicates with it, only applauds it. This is the law of puppet theater.

And if you are going to introduce children to the world of puppetry, you need to familiarize them with the laws of theater. Therefore, Yaroslavtseva’s students, preparing to go on stage, put on black suits and lead their dolls against a black backdrop. A black backdrop, by the way, does not exclude colored decorations and colored lighting. This helps complete the doll look.

Puppet theater without... screens

IN everyday idea the screen is a symbol of the puppet theater.
But for a small child, being hidden from view for a long time, not being able to observe the reaction of the audience, and even standing, and even with his hands raised up, is below average pleasure. There is not a single item in the listed list that corresponds to the psychophysiological capabilities of children. Therefore, if we consistently implement the principle of “going from the child”, in the pedagogical puppet theater we must abandon the screen.
When working with children, exercises behind a screen can only be minor, short-lived episodes - so that the image of the puppet theater is complete.
It’s good, for example, to play the game “Who said “meow” (“woof-woof”, “oink-oink”, etc.)?”: the children close their eyes, and three of their friends hide behind a screen. There they put glove puppets on their hands or arm themselves with gapit puppets. At a sign from the teacher, first one doll, then another appears above the screen and speaks in a “changed” voice. Children spectators must guess which of the child actors is driving the doll.
But most of the classes are conducted without any screen: just in a circle (standing, sitting, moving), at the table, at various modules (cubes, benches, chairs, etc.). Kids, no less than a doll, need a teacher and comrades - in “eye to eye” situations.

The doll comes to the manger

Twice a week Inna Yaroslavtseva comes to each group. And in the second half, “club members” study in the salon or theater hall. So “puppeteering” classes in kindergarten are systematic. The system begins to operate from the nursery group.
It would seem, what should a professional puppeteer do in the company of diaper consumers? It turns out that the case can be found. Kindergarten methodologist Alla Prokhina convinced Inna of this. For example, you can help kids adapt to new conditions.
During the first two weeks school year Inna Yaroslavtseva comes to the nursery every day with some representative of the doll salon - in order to entertain the kids, interest them, and create a playful situation. This, however, is not easy. You need to be careful and unobtrusive. There are kids who are frightened by a living doll and push it away from them. But the majority react positively to the doll, they reach out to it, want to touch it, and laugh.
When the adaptation period is over, the kids will begin real classes in “puppeteering.” At first, their duration will be 5-7 minutes, then 10 minutes, and by the end of the year the classes will last as much as fifteen minutes. Kids, according to Yaroslavtseva, do not get tired of her classes: classes are built on a change of types of activities, include finger and articulation gymnastics, skills in driving finger puppets and showing fairy tales. Inna says that what she loves most is working with kids: they are such grateful spectators, they watch fairy tales with such attention, with such devotion to puppetry! And this is exactly what a teacher needs for self-affirmation and self-confidence.
For two or three year olds, such activities are also very useful. When, after a couple of years, the child early age past initial course“puppeteer”, starts to drive a “serious” doll, he is immediately visible. He is ready to solve theatrical problems - both technical and creative.

Doll with two heads

This doll has two heads and no name yet. The idea of ​​​​its creation belongs to one of the artists of the workshop of the State Academic Theater of Culture named after. S.V. Obraztsova. The doll comes to children at the end of some significant activity or for a holiday. Talks, sings, dances, asks riddles. And at one fine moment it suddenly jumps strangely and turns into something completely new. This is an unobtrusive but memorable lesson for little puppeteers: puppet theater is full of surprises.
Like, in fact, the man himself, whose image and likeness the doll is. Fantasy and the ability to express oneself develop in the creative field of surprises. And this is the main task of puppet pedagogy.

Additional very useful pages from Natalia Trifonova’s book “Do-It-Yourself Puppet Theater”

The complex process of putting it on the baby’s hand, and also synchronously reproducing the doll’s speech and movements. The doll you put on your hand must be turned to face you and make the following movements. Let the doll tilt its head forward several times, then bend from the waist. In the first case, the joint of the index finger is bent, in the second, only the puppeteer’s hand is bent. Then turn the doll right and left, clap your hands, spread them apart, lift them up, and stretch them forward. Stroke the doll's face with your hands or hand. Next to master: when a doll hugs, takes an object, walks with it and puts it back, whispers in your ear, cuddles up to you.

Their feelings and experiences are expressed simply. For example, to show that a bunny is crying, you need to cover his face with his paws; when he is happy, he jumps; when he is scared, he trembles; when he is surprised, he spreads his paws to the sides. And if it’s a small scene called “Hide and Seek,” where there are two different characters, you need creativity from both children and adults. The little squirrel is lively, cheerful, kind and resourceful, speaks quickly and loudly, and is friendly towards the bear. The bear is phlegmatic, clumsy, moves and speaks slowly, loves to sleep and honey. He is looking for the little squirrel calmly, without excitement, without fuss. All this must be taken into account when working with both children and adults.

To master puppeteering, teachers will need a number of exercises.

First, we learn how to put on and move a doll without a screen.

In order for the doll to act according to the text, it is necessary to master elementary movements, i.e., when necessary: ​​she walked and sat down, turned, bent over, clapped her hands, squatted, spun, hugged, took objects, etc.; so that the doll looks at the children or at the hero. She stays upright, doesn't lean to the side, doesn't throw her head back or droop down. It's not easy, but surprisingly exciting.

The doll does not emerge immediately, as if from underground, but gradually: from the beginning its head, shoulders, chest and legs appear. The doll must “live” all the time, do something, move and confirm the text with its movements. It can be difficult to read the text and at the same time follow a doll or even two dolls on two hands. The doll should be at screen level all the time. If possible, lower the doll's arms downwards. It is very important to develop a sense of the floor, that is, the doll should seem to walk on the floor, without falling or rising. If you move it across the screen quite evenly, then the audience will get the impression that it is sliding, rolling, but not walking. When conveying the doll's gait, you need to move it forward with rhythmic movements. When leaving, she does not fall through immediately, but moves into the depths of the screen behind the background or gradually lowers.

There are two ways to even sit a doll. If she has legs, turn her to face the audience, throw her legs over the screen and lower the doll a little. If she doesn't have legs, put her in profile towards the audience, lower her a little and with your free hand straighten her dress along the screen, as if the doll had stretched out her legs. And taking an object from the screen means tilting only the upper part of the doll’s body; this is achieved by bending the puppeteer’s hand and there is no need to lower the whole part down. Or lie down - first sit her up, and then put her head on the screen. When it is necessary to show that the doll is sleeping, it is placed on a screen with its back to the audience so that its open eyes cannot be seen.

Each character in the play has his own interesting and characteristic movements and constantly reacts to what is happening. All the small, barely perceptible movements of the dolls make it real, meaningful, very busy and attract the attention of children. The doll does not move, freezes, and immediately becomes uninteresting.

It is advisable to find for each character its own characteristic voice, its own manner of speaking. When showing the performance, the text is read at a moderate pace, expressively pronouncing and pronouncing the words clearly, give the audience the opportunity to look at the hero, stop, do not rush with the words, pause, stop. Wait for the children to laugh, share their impressions, and talk with the characters in the play. If necessary, make explanations, add text, speed up the development of the plot or replace it with more accessible words and expressions.

We learn the ability to work with two dolls in two hands at once.

In the theater you often have to work with two puppets. With a doll on each hand, it is important to speak and move differently, each has its own place on the screen, its own manner. We must try to use the entire playing space of the screen and not group dolls in one place. And if the doll speaks, it means that it moves slightly and gesticulates a little. The doll that listens stands motionless and looks at the speaker. Each change of place and transition of dolls must be done reasonably, with a specific purpose. When the puppets change places, the puppeteers also change places.

Puppeteers work standing, so there should be no unnecessary objects behind the screen that interfere with movements. There is room behind the screen so as not to restrict movement. Coherence in working with the hero will come, but not immediately.

Also important for puppet theater are such moments as the foreground and background.

The show will be much more interesting and advantageous if you make a background shot, it will enlarge the stage, create a background behind which the action or the gradual exit of the doll will take place.

Light brings the design and characters to life, everything becomes much brighter and more attractive. At the same time, of course, we keep it in moderation and do not overload the design of the screen and costumes with trifles and details, and do not clutter it with unnecessary, unnecessary decorations and things that are not needed in the performance. We do not strive to reproduce the exact life situation, to create the greatest believability. On the screen we place only what is necessary, the details and props for display. Everything should be simple, elegant and beautiful.

When you need to show a forest, we put a tree, a bush and a stump. But let’s play with them: the doll can sit on a stump, or hide behind a tree or bush. If possible, we make the decorations real (newspaper, book, apple, sour cream, water:)

And it is imperative to explain to the kids new words used in the theater:

stage, screen, spectators, applause, scenery, lighting, backstage, curtain, poster, tickets, auditorium, puppeteer, performance

A manual for beginning puppet theater teachers

Subject: basics of puppeteering for teachers of theater groups

Target: theoretical and practical familiarization of teachers with different puppet systems and the basics of puppeteering

Tasks:

THEORETICAL PART:

1. Opening remarks.Currently, the so-called “third genre” or “third type”, formed at the junction of dramatic and puppet theaters. In this system, live actors and puppeteers interact. In addition, quite often in dramatic performances began to introduce theatrical puppets to reveal complex psychological problems. This does not happen by chance, because expressive means With puppets, the director can achieve a more vivid and multifaceted perception of the performance. In general, the use of theatrical puppets in dramatic, musical, folklore and other performances is becoming more and more intense. This is especially true for such genres as fairy tale-fable, performance-poster, comedy-popular print. Therefore, a theatrical puppet acquires great importance not only for puppeteers themselves, but also for all artists associated with the theater in general.

At today's master class we will try to master the secrets of the puppet theater, in particular, the basics of puppeteering. I will introduce you to the theory of puppeteering and show you in practice the basic exercises necessary to successfully master this skill.

2. Rules regarding all doll systems:

- The actor must always look at the doll.

The doll should always be pointing with its nose.

Talk about turning the doll on the spot.

The dolls should not be close to each other so that the viewer can see them.

When one doll speaks, the other should stand quietly and listen so as not to attract attention.

When the doll speaks, it should not nod on every syllable, but only on the last syllable.

3. Rules for driving a riding doll:

When working with a horse, you need to pay great attention to working with your wrist.

Describe and show the mandatory positioning of the actor’s body when working with a riding puppet.

The doll must “feel” the floor.

A doll moving from the foreground to the background must be raised higher by the actor so that it does not get “lost” behind the foreground dolls.

Tell and show how a riding doll should sit down and stand up.

Tell and show how the riding doll should take the props.

Tell how the riding doll should walk and run (the doll should be tilted slightly forward)

The riding doll should always be tilted slightly downward with its nose towards the audience

4. Rules for driving a tablet doll:

Tell and show how to hold a tablet doll correctly

Tell and show how a tablet doll should get up and sit down

5. Rules for driving a puppet:

When working with a puppet, you should carefully look at the threads and precisely control the string.

Monitor the proper tension of the threads and the level of the thread (so that the threads are not loosened).

6. Rules for driving an open-controlled doll:

When working with an openly controlled (parquet) puppet, the actor must stand strictly behind the puppet.

The parquet doll should not stand at an angle to the hall.

Voice your point of view regarding the costumes of the actors with the parquet doll.

7. The part about mixing puppet systems:

Talk about mixing puppet systems (talk about the so-called “third genre” and multi-system).

8. Discussion and summing up.Dear Colleagues! Thank you for your interest in puppet theater. I hope that the last master class was interesting and useful to you. Believe me, a theatrical puppet is capable of much more than is usually believed. The whole point is only a sincere and conscientious attitude towards her and studying the laws according to which she “lives”. Therefore, the theoretical and practical knowledge you have acquired today should help you come up with new non-standard solutions and make your creative searches even more exciting. Thank you for your attention!

PRACTICAL PART:

• show and talk about theater puppet systems and its structure
• teach the minimum required set of movements for dolls of all systems
• show exercises with a glove puppet
• show exercises with elbow doll
• show exercises with a cane doll
• show exercises with a tablet doll
• show exercises with a puppet
• show exercises with an openly controlled doll
• talk about the rules of driving with a “talking” doll
• talk about the rules of communication between a doll and a live actor
• check the performance of teachers at the end of the master class

Organization of theatrical activities (puppet theater)

Theatrical activities are increasingly used as a means of teaching and developing children preschool age. The teacher performs small plays and sketches in different types of puppet theater, creating in children an interest in performing everyday activities, explaining the meaning moral standards(use of etiquette words, methods of resolution conflict situations etc.), introducing children to works fiction, forming an interest in the theater, and finally, developing elementary performing skills in children for use in theatrical games and theatrical activities. To solve the above problems it is necessary that puppet show It was a bright, memorable sight to see the dolls come to life in the hands of the teacher. However, the curricula of teacher training colleges do not include academic disciplines, in the process of mastering which students would gain puppeteering skills. This article will help everyone who wants to understand how to move dolls so that their “actions” are similar to the real movements of the characters.

Let's immediately make a reservation that the article discusses methods of driving puppets in the most common and one of the most difficult types of theater to drive - the Parsley theater, or glove puppets. The Parsley Theater is one of the oldest puppet theaters, named after its main character. Even in the Middle Ages, buffoon puppeteers gave performances in which Petrushka ridiculed human vices. These performances were often satires of those in power; In order not to be persecuted, puppeteers spoke through a squeak - a device that changes a person’s voice beyond recognition. This type of puppet theater received its second name because the puppet, like a glove, fits the hand of the puppeteer.

There are two types of dolls - dolls with gapite and without gapite. Hapit is the name given to the stick - the cane that controls the head of the glove puppet; the doll's limbs are moved by the fingers of the puppeteer. Gapit can be simple, performing only turns of the head to the right - left (see Fig. 1) or complex, mechanical (see Fig. 2). In the second case, the head not only turns in different directions, but also tilts. Of course, such a doll is more expressive in its movements, but it is also much more difficult to control.

Rice. 1. Doll on a simple gapit Fig. 2. Doll on a complex gapite

IN preschool institutions Most often, dolls without gapite are used. In this case, they are a “three-fingered” glove: the middle “finger” guides the doll’s head, and the side “finger” guides the hands (paws). The position of the fingers in the glove may vary. In some cases, the glove can also be “five-fingered” - if during the action the doll must act with its feet. Her “legs” are guided by the fingers of the puppeteer’s second hand (see Fig. 3).

Rice. 3. Position of the hand in the glove puppet without gapite

When going out onto the screen with the doll, you need to always keep it at the same level - “feel the floor.” The doll should rise above the screen by ¾ of its “height”. The legs of riding dolls are not visible, often they are not made at all, but the audience should have the impression that the dolls are walking on the floor or on the ground, and the puppeteer must constantly feel the imaginary level of the floor, not allowing the doll to either “dive underground” or “swim through the air” (see Fig. 4).

Rice. 4. Position of the glove puppet on the screen

Technique for driving glove puppets in a puppet theater

The laws of stage action remain the same in the puppet theater as in drama theater. The development of the action of a puppet character is carried out as the fulfillment of a number of stage tasks that determine the content of the parts of the role. All together they constitute what can be called role drawing .

The actions of the puppet character take place in the proposed circumstances performance and each individual scene, therefore all his behavior is determined by these circumstances. Puppet character in each scene in action and in words:

expresses his attitude to what is happening,

enters into communication with their partners,

influences them through his words and actions and

perceives their actions and words himself.

The behavior of a puppet character must always be justified by the internal content of the picture. The expressiveness of the doll’s actions depends on how interesting and correct the content of the scene is, plastic actions and devices are found, thanks to which its actions as a character become most distinct.

Everything the puppet does on stage is determined by the questions:

what's happening? (in a play, in a separate film);

what does this character do;

how does(plot-wise and technically).

Thus, stage action in a puppet theater is a display of the actions of a character - a puppet in all circumstances of the performance. This display is determined by:

understanding the logic of the character’s actions;

understanding visual arts dolls.

The performer's work with the doll begins with a comprehensive familiarization with it. If the performer did not make his doll himself, then first of all he gets to know her:

technical device,

management method,

tests how conveniently the cartridges, reeds, threads, etc. fit..

Getting started with new doll, the performer goes through a series of movements with her, putting into them specific tasks (both close to his role and beyond its limits). During this period, he can freely improvise various movements with her.

One of the main secrets of puppeteering is to balance the doll's movements with its scale . In proportion to the scale of their own body, children often make the mistake of forcing the doll to move sweepingly and abruptly. Thus, the actor robs the doll. The doll’s movements must be clearly segmented, small and very precise: the doll bowed its head a little - it’s already sad, moved forward a little - that’s already a whole step.

How exactly are the doll's movements conveyed? Which physical actions the fingers and hands of the actor-puppeteer determine the plastic actions of the doll?

The doll is carried on the leading hand "from itself". This makes it easier for the doll to walk, and it is easier for the actor to keep track of his doll and his partner’s doll.

Driving a doll without gapit . The index finger guides the doll’s head, the middle and thumb guide the arms/paws, the ring and little fingers move toward the palm and form the volume of the doll’s body.

If the doll is not performing an action, it should be in a neutral position. The doll's hands should be folded on the stomach - this is the starting position for the glove doll. The “calm” position of the doll’s hands is achieved by pressing the puppeteer’s thumb to the palm and covering it with the middle finger (it is located parallel to the ring and little fingers).

To raise your “hands” up, you need to bring your fingers – “hands” – as close as possible to your index finger – “neck”. To spread your “hands,” you need to spread your thumb and middle fingers out to the sides as much as possible. For the doll to rub “hand” against “hand”, connect the pads of the thumb and middle fingers and rub them against each other. To “hug” another character, the fingers first spread apart, then clasp the other doll’s body: the thumb is above the partner’s thumb, the middle finger is under the partner’s middle finger, forming a kind of “lock.” To stroke another character, the stroke action is performed with the middle or thumb from top to bottom.

To slightly tilt the doll's head, you need to bend forefinger in the first phalanx. To depict a negative shaking of the doll’s head (“no-no”), you need to move your index finger to the right - to the left. In this case, you can “grab your head with your hands” - slightly bend your index finger - “neck”, grab the sides of the doll’s head with your thumb and middle finger.

To depict a “chest” bow, you need to bend your index finger at the second phalanx. To depict a “waist” bow of the doll, bending behind some object, you need to bend your hand. The depth of the bend determines the depth of the slope.

A glove doll without gapite does not have the function of turning the head, so the rotation is carried out by the entire body of the doll - the entire hand. To enhance this movement, you can slightly tilt the doll’s head - bend your index finger in the first phalanx.

Driving a doll with gapite . If the doll has a gapit (a stick on which the doll’s head is mounted), then the doll’s hands/paws are guided with the thumb and forefinger, and the head is controlled by the gapit with the other hand.

To turn the doll's head, you need to turn the gapit very carefully, since with a sweeping movement the doll is able to “look” behind itself, like an owl, which is a driving error.

To depict a negative shaking of the doll’s head, you need to slightly scroll the doll’s head to the right - left (“no-no”); in this case, you can spread the doll’s arms to the sides (bend the index and thumb to the sides).

The Hapit doll is able to “shrug its shoulders” (the thumb and index finger are connected “in a ring” and the entire hand is slightly raised upward), but has a complex technology for landing and tilting.

Mastering the plastic actions (movements) of a doll is based on the following principles :

Complex plastic actions must be disassembled and their constituent sequential movements must be found.. Elements of complex movements are not always clearly visible. To determine them, you need to do all these movements yourself or watch how a friend does them, and choose what will be expressive and beautiful in the doll’s movements.

Plastic actions should be based on the coordination of the movements of a certain doll, just as the movements of a person are coordinated. The leader should show the children the mechanics of human movements (moving the hand forward tilts the body back; covering the face with the hand forces the head to bow, etc.). Despite the fact that the doll does not reproduce the anatomical structure of a person, the use of certain laws of coordination makes its movements highly convincing. It is necessary to “look through” all parts of the doll from the “head” to the “legs”.

Along with strong and large gestures and movements, subtle “half-movements” play an important role., which give the doll special expressiveness and persuasiveness. This may be a barely noticeable turn of the head, subtle shaking of the “shoulders” when crying, and similar movements.

The doll must be held straight on the hand, the body tilts forward, backward, and sideways by bending the puppeteer's wrist. Compliance with this rule imparts clarity and purity to the doll’s movements.

Compliance with these rules allows the performer to construct the plastic actions of the doll and master various ways of driving it.

Way of driving a doll, depicting gait. The doll turns sideways towards the viewer. The actor must walk, but slowly, so that for each step the doll has time to take several steps. The doll's step is the movement of the body up and down . You cannot make separate and sudden movements, just slightly raise and lower your hand. To give character to your gait lowering and raising your arm and at the same time moving it forward, you need to slightly swing your hand in the joint - you will get a “waddle” gait. The larger the character (and, accordingly, the doll), the greater the interval in the movements of the hand: the “bear” walks swaying (the hand not only rises up and down, but also turns left and right), with a greater amplitude than the “wolf”, which – more amplitude than “hare”, etc. If the doll is haptic, turns of the hand are replaced by slight turns of the head. You can find other features of the gait - skipping, limping, etc., but the basic pattern of the doll’s “gait” and its proportionality with the scale of the doll should always remain..

Method of driving a doll, depicting landing. The technology for planting dolls without hapite and hapite has a certain difference.

The doll turns sideways to the viewer. Head dolls without gapite goes down a little (the index finger bends slightly) while maintaining the same level of the doll on the screen. Next, the hand is moved back and down while simultaneously raising the head (straightening the index finger). A slightly emphasized movement records the moment when the doll “sat down.” Hapit doll , sitting down, “acts” as follows. The doll, without changing the floor level, tilts approximately 45 degrees, the doll’s “arms” are slightly extended forward, the actor’s palm is pressed tightly to the gapit. Then the hand moves backwards, the actor’s hand moves down slightly (while the wrist goes up) - the doll “raises its butt”; then the hand and wrist are straightened (the gapit is pressed against the palm again) and the whole doll lowers down - sits down.

Before sitting down, the doll must “look” at the place where it sits(turn back, tilt your head slightly, turn forward again). This will be the detail that gives the doll not only external, but also internal resemblance to a person, creating the impression that the doll “thought” before “sitting down.”

Laying down the doll. First, the doll “sits down”, then turns to face the viewer and lies down (the hand bends and rests on the bed of the screen). Already lying down, the doll can “tinker” - move its head slightly, “rub hand in hand”, “rub its eyes” (bend the index finger - “neck”, bring the doll’s “head” closer to its “hands”, rub the doll’s face with your fingers - “ hands"; if the doll is hapit, then the hapit is pulled down, allowing the "hands" to reach the "head"). If the doll needs to cover herself with a blanket, then, after sitting down, the doll “takes with her hands” the edge of the blanket and lies down. The blanket should automatically cover her.

Lifting the doll. The actions are performed in the reverse order compared to “planting” or “laying down” the doll, but it is no longer necessary to look back at the landing site.

If the doll must pick up or hit an object, it must be remembered that its movements depend on its size and the size of the object it is dealing with.

Lifting an object with a doll. For a doll, even a matchbox is a whole box. It is not easy for her to grab such a large object with lightning speed; she must take it slowly. Actions of a doll without gapite . Holding the doll at the desired level, you need to bend your hand (bow from the waist - the doll will bend towards the garden bed), extend your “arms” towards the object (bend your fingers and extend them in the right direction), then “take” the object (grasp it with your middle and thumb), press it to the doll’s stomach with your palms, and slowly straighten your hand to straighten the “back” of the doll, barely leaving a bend (if the object is heavy). If the object is large, you must definitely pause - “take a breath”; the doll can even “sigh”. If the object is oblong, the doll can “throw it over the shoulder” (to do this, when grasping the object, it must be additionally held between the middle (or thumb) and index fingers – the “hand” and “neck”). In this case, the doll can even wipe away sweat from her forehead with her “free hand”. When moving with an object, the doll should walk slower than usual - it carries weight. If an object needs to be acted upon, it is clamped between the pads of the thumb and middle fingers; the action is conveyed in a generalized manner, but if possible with the isolation of the phases of movements (swing - the object is lifted with the fingers - arms up, the doll leans back, the hand bends to the back; lowering - the movement of the fingers and hands is intensified by lowering the entire hand, the doll leans forward; pause - fixing an object at the desired point). If you need to move an object left and right, you need to rotate the entire hand - the torso of the doll. When lowering an object, you must proceed in the reverse order.

Actions of a doll with gapit. Holding the doll at the desired level, you need to tilt it towards the garden bed, extend your “arms” towards the object (bend your fingers and stretch them in the right direction), the actor’s hand, moving his arms, goes down slightly (while the wrist goes up) - the doll “raises its butt” , then “take” the object (grasp it with your middle and thumb), press it to the doll’s stomach, and begin to straighten (the hand and wrist are straightened, the gap is pressed against the palm again). If you need to move an object to the right and left, you need to rotate the entire hand that moves the “arms” of the doll, without turning the gap and keeping the position of the head unchanged. When lowering an object, you must proceed in the reverse order.

The connection between a character's external image and his way of thinking helps establish the character's speech . How to organically connect speech with a character if his mouth mostly does not open?

The movements of the doll in connection with the word are based on the following principles :

A silent doll remains motionless, a talking doll must move(this rule applies mainly to those cases when there are two or more dolls on the screen and there is a general conversation between them). Its movements can be very different. Just as a word has its own meaning and intonation, the movements of a talking doll have their own shades. If the word spoken behind the screen is not confirmed by the movements of the doll, then it may appear to the viewer to be unrelated to this character. There are times when a silent doll must move - it can silently do everything that its role requires. Or she can remain completely motionless, freeze, saying some phrase, and indicate speech only with minimal nods of the head. It all depends on the circumstances of the action or the purpose of the mise-en-scène.

The movements of a talking doll reflect either directly what it says, or the thought, and, consequently, the attitude that lies in the spoken text.

The illusion of transmitting the doll's voice is achieved by synchronizing the movement of the doll and the actor's voice. Speech and movement, connected by a common meaning, can complement, but not duplicate each other: plastic actions can precede the word, and, having prepared it, be expressed in it. Also, a word can be the beginning and cause of subsequent movement. Here they are connected by meaning and temporal sequence, although they do not coincide in time and do not overlap each other. The coincidence of the rhythm of speech with the rhythm of movement can provide synchronization and the illusion of animation, even if this movement is everyday and does not carry a figurative beginning.

The rhythm of speech and the power of the word are reflected in the rhythm and power of movement..

All the behavior of the doll: its movements, gestures and words must be addressed to a very specific object - an object or a character. The viewer should see where the doll's attention is directed, what its action relates to, and who it is talking to. The play of a doll that speaks without addressing its partner ceases to be convincing. The doll's gaze is determined by the position of its head, and the viewer traces its direction in the direction of the nose as the most protruding part of the doll's head.

If the doll is alone on the screen and pronounces a monologue that is not addressed to the subject, then it should address its words to the audience. So, for example, while “sweeping the floor” and talking about why she is “doing this”, the doll moves along the bed of the screen sideways towards the viewer, acting with a broom; having reached the middle of the bed, he stops and “says” the text, turning to face the audience (at the same time he can nod his head, look in different directions auditorium etc.), and then resumes movement.

The actor’s voice should “merge” with the doll. To do this, the leading characteristics of the image are selected and the intonation, timbre and rhythm of speech are selected for them. For each character, these characteristics should not coincide with other characters.

It must be remembered: the movements of the doll and its speech are determined primarily by the character of the character, his external features and the internal filling of the role. Therefore, before working with a doll, it is necessary to create a “bank of intonations” that determines the range of pitches of the characters’ voices in the play (which of the characters speaks above everyone else, who speaks below everyone else, who occupies intermediate positions; whose speech should be louder, whose quieter; how to express joy with intonation , sadness, fear, surprise, etc.). Such a “bank” should not become frozen once and for all for any character: in different works A wolf can be cruel, kind and stupid, or very angry. Each time the character's intonation will change. At the same time, for a novice puppeteer, the “bank” will serve as a tool for finding funds speech expressiveness, will help create an interesting performance.

A performance is a work theatrical arts, which is created on the basis of a dramatic or theatrical work in accordance with the director’s plan and under his leadership through the joint efforts of actors, as well as an artist and composer. Theater - a place for spectacles Theater - a kind of Scene - a platform, art, on which a specific event occurs and is represented by a means of expression. Stage - part of which action, is an act in a play, a stage performance, action, Scene - in the sense that arises in the broad process of the game, then the actors in front of that the theater is the public TYPES OF THEATER PUPPETS

TYPES OF THEATER DRAMATIC TYPES THEATER COMEDY PUPpet THEATER OPERA AND BALLET THEATER SHADOW THEATER

FROM THE HISTORY OF THE PUPPET THEATER In old Russia there were no state puppet theaters. At fairs, on boulevards, and in city courtyards, traveling magicians, acrobats and puppeteers gave small performances. Usually one of them turned the handle of the organ. To the loud sounds of music, the puppeteer showed from behind a small screen how funny, long-nosed, loud Parsley beats with a stick tsarist officer, who wants to take him as a soldier. From the clever Petrushka, both the ignorant doctor who did not know how to heal and the deceitful merchant got the worst of it. The life of folk puppeteers - traveling actors - was very difficult and was not much different from the life of beggars. After the performance, the puppeteer actor took off his hat and handed it to the audience. Whoever wanted to throw copper pennies into his hat. TYPES OF THEATER PUPPETS

CANE RIDGE Puppets FINGER Puppets Controlled by one or more actors using canes VIEWS ABOVE THE SCREEN Controlled by the puppeteer's fingers THEATER GLOVE Puppets Controlled by the puppeteer's hand PUPPETS

CANE DOLLS Cane puppets are larger than glove puppets (head size can be up to 20 cm). This doll is lifted above the screen with the help of a rod inserted inside, which is called a "gapit". Canes - sticks (wires) are attached to the doll's hands, which the puppeteer moves. The doll's arms bend at the elbows, the head can turn and tilt. Such dolls, with their smooth and majestic movements, are indispensable in heroic and romantic performances. Their design allows you to perform a wide variety of movements and fill the performance with interesting tricks and finds. Most puppet theaters in our country, including Central Theater puppets by S. V. Obraztsov, use a wide variety of cane puppet systems in their work. These dolls are called riding dolls because the actors lift them above themselves during the performance. At the same time, the viewer does not see them in full height - the lower part is hidden by a screen. Therefore, riding dolls are often made without legs. TYPES OF THEATER PUPPETS

DOLLS - MITTENS. TYPES Mitten dolls were born from ordinary knitted mittens. Mittens do not have to be knitted from yarn; dolls sewn on the basis of work mittens look more expressive, since there is great opportunity for applique faces, muzzles and clothes. These dolls are good because they are very easy to control and are intended for children of the most younger ages. We can make such “mittens” based on any fairy tale. THEATER PUPPETS

CANE DOLL WITH OPENING MOUTH. TYPES We present to you new toys for the puppet theater. These are cane dolls with opening mouths. The hand sticks into the mouth (mouth) of the toy and controls it. The other hand uses canes to control the doll's "arms". THEATER DOLL The total height of the doll is 5055 cm.

CONE THEATER. TYPES It is not necessary to have a screen, decorations, or a specially equipped place in classes with children, when playing any fairy tale with them. You can show the children a fairy tale or act out a play together on an ordinary table. Dolls intended for this purpose must stand firmly on the table and be easy to move around. Theater on the table is the simplest and most accessible theater for children of all ages. The doll's body is made in the form of a cone, to which the doll's head and arms are attached. The size of such a doll can be from 30 to 10 cm. THEATER DOLLS

FINGER THEATER. Finger puppets are the smallest puppet theater artists. Their height is only 7 - 9 centimeters. You can easily take these babies with you on any trip, for a walk or when visiting someone. These dolls can be a charming souvenir for your friend's son or daughter, especially if it's their favorite one. fairy tale character. Tiny puppets will become playmates for a child already at age three years. But you should not give them to very young children, so that they do not tear off and swallow the glued parts. The child puts the doll on his fingers and acts as the character depicted on his hand. As the action progresses, the child moves one or more fingers, pronouncing the text, moving his hand behind the screen (if there is one). You can do without a screen and depict actions by moving freely around the room. Finger Theater good when you need to show several characters at the same time. For example, in the fairy tale "Turnip" new characters appear one after another. Such a performance can be performed by one child using his fingers. Fairy tales "Twelve Months", " Swan geese"and others with many characters can be shown by two or three children. TYPES OF THEATER PUPPETS

WALKING DOLLS. TYPES These toys can serve as a table theater and are designed to develop the motor skills of a child's hand. THEATER PUPPETS

“LIVING HANDS” DOLLS. Bright and expressive possibilities TYPES has a very simple doll with a “living” hand. If glove and cane puppets at least imply a body, then there is none here. Instead of the doll's hands, the hands of the puppeteer work in gloves sewn to the dress - the doll's costume. The basis of imitation of a doll's costume is a triangle or square made of fabric. The doll's head (up to 25 - 30 cm in diameter) is attached to the costume in the neck area and hung on strings around the puppeteer's neck. THEATER PUPPETS Such a doll allows you to highlight the most subtle nuances feelings and moods of the hero, she has expressive gestures and can perform complex actions that are inaccessible to other dolls (pointing, writing, taking a child’s hand, stroking a child’s head, etc.)

GLOVE PUPPETS. Otherwise it is called parsley, because this is how Parsley is designed. Since ancient times, in Rus' there have been parsley players - actors who performed with dolls - Parsleys, placed on the actor's hand. In this case, the actor’s index finger goes into the doll’s head, and the thumb and middle finger into the sleeves of her costume. The movements of her head, arms, and torso are carried out using movements of the fingers and hand. TYPES OF THEATER The head of a glove puppet can be the size of a ping pong ball to large apple. A head that is too large makes it difficult for an actor to work because its weight rests on one finger. PUPPETS Glove puppets are very mobile and expressive. True, their hands stick up, but experienced actors use them very deftly. In China, for example, where puppetry unusually developed, puppeteers manage to put their hands behind the doll’s back or open a tiny umbrella with them. With the help of glove puppets, you can act out various scenes on topical topics, use them as funny assistants in classes in kindergartens, stage various performances and even variety acts.

FLOOR DOLLS. TYPES Floor dolls are large dolls. Their height depends on the height of the puppeteer and can be from 1 m to 1.5 m. Working with such dolls is very interesting. They are led “in the open” by one or two performers. This doll has large empty (without filling) sewn hands and slippers into which the puppeteer inserts his palms and feet; the head of such a doll can be hung on the puppeteer’s neck using ropes, or the puppeteer’s hand can be placed in a pocket located on the back of the doll’s head (then the doll can turn and tilt its head). THEATER DOLLS Large dolls have rich stage capabilities: they walk among children, spectators, take their hands, can dance with them, bend over a child drawing and see what he is doing, how he writes, etc.

GLOVE PUPPETS OR BIBABO. Bibabo dolls usually operate on a screen behind which the driver is hidden. But when the game is familiar or the dolls are driven by the children themselves, that is, the moment of mystery has disappeared, then the drivers can go out to the audience, communicate with them, give them something, take them by the hand, and involve them in the game. Such “exposure” does not reduce, but rather increases the interest and activity of the children. TYPES OF THEATER When children see an adult playing with bibabo dolls, they will most likely want to learn how to drive such dolls themselves. If the doll turns out to be too big for a child’s hand, then not one, but two children’s fingers can be inserted into the doll’s head. Shorten the doll's sleeves so that the children's fingers fit into the sleeves of the doll's hands. You can make dolls especially for children's hands. Show the children how the doll should move and how to move it on the screen. Dolls must constantly move, as if they were alive, they cannot be fixed on a plane or table. But you can create a lot of funny scenes with them and use the same dolls in repeated games, constantly maintaining the children’s interest in them. DOLL

MARIONETTE DOLLS. Puppets are controlled not from below, but from above. The puppeteer, located above the doll, holds a crosspiece in his hands - the so-called “waga”, where all the threads coming from the doll converge. The threads are attached to her shoulders, knees, elbows, and head. Pulling up the necessary threads or by turning the bars, the actor makes the doll move its arms and legs. The number of threads can be up to thirty pieces - in this case, the doll is controlled by several people. Puppets can walk, sit, move their arms and legs at the same time, dance, bend over. TYPES OF THEATER PUPPETS

NEW THEATER TOYS. TYPES Created the new kind toys for the theater - toys with an opening mouth (mouth) THEATER DOLLS In addition to the above-mentioned dolls for the puppet theater, they make a wide variety of original soft toys and souvenirs, they also make compositions from toys according to any famous fairy tales and cartoons. The size of the toys for the composition and their number can be any.

SHADOW PUPPETS SHADOW THEATER Flat hand-drawn puppets lean against the screen and are illuminated. The main thing is the silhouette. TYPES OF THEATER PUPPETS