Theater activities in elementary school. Theatrical activities at school. Results Evaluation Criteria

Play is the leading activity of a preschooler, but if these are unusual children, children with reduced intelligence, is play possible at school? What about high school students? Of course yes! This will be an unusual game, this is theater! Theater activity is an art therapeutic method in the educational process; it was identified by psychologists L.S. Vygotsky, A.N. Leontyev and others back in the 30-40s of the last century.

Theatrical activity refers to pedagogical technologies based on the activation and intensification of students’ activities, i.e. gaming, culturally educational technologies and technology of collective creative activities.
The problem of children with special educational needs is becoming more and more relevant every day for specialists working in the field of education, psychology, medicine and other scientific disciplines focused on solving issues of human development.

The theater studio is able to solve a lot of problems of correctional, educational and educational significance:

• teach children to express their emotional state using theatrical means, to convey the behavioral characteristics of the characters in a literary work; develop creative abilities;
• expand your horizons;
• develop the sphere of feelings, complicity, empathy;
• to develop communication skills, joint interaction, and collective creativity.
• introduce children to artistic culture.
• expand children’s active and passive vocabulary, improve speech intelligibility;
• develop oral speech;
• to form speech activity as a means of communication;
• introduce children to the content of works of art;

Theatrical activities presuppose a special psychological climate, built on the co-creation of adults and children. Theatrical activity is interesting, loved, closest and most accessible to a child, since it is based on a game, which, according to L.S. Vygotsky, is the root of all children's creativity. And this type of activity is also part of the correctional work of a teacher-psychologist. The game corrects both individual mental functions and the formation of the child’s personality as a whole.

The studio participants include many children with problems of personal, behavioral, emotional, volitional, and mental development. For example, such as: conflict, high self-esteem, emotional instability, excessive mobility, shyness, timidity. And with the help of theatrical activities, joint interaction in a team to achieve a certain goal, in the process of preparing a performance, where you need to help, give in, take into account each other’s interests, these shortcomings are affected.

Depending on how speech is formed, the intellectual sphere of children also develops; their outlook, cognitive processes, mental activity, and this, in turn, affects the development of communication skills, the emotional state, and mood of children. When selecting and composing scenarios, I try to involve the audience as much as possible: the selection of games, riddles, and exercises allows children to become part of the action.

The joyful faces of the children after the performance convincingly indicate that children really love this type of art. It attracts them with its brightness, colorfulness and dynamics. The unusual nature of the spectacle captivates children and transports them to a very special, fascinating world. The emotionally experienced performance helps determine the child’s attitude towards the characters and their actions. Each stage of preparing a performance is a stage of correctional work. Teachers, counselors, the children themselves, the music director help us in making attributes, decorations, and costumes; the school administration never refuses help.

The premiere of a play is always an event that arouses increased interest among children, school staff and, of course, parents.

With the help of theatrical activities, play, jokes, humor, and creativity organically enter the life of every child. Fairy tales, games, music form children's aesthetic taste and develop emotions. Theatrical activities liberate them, teach them full communication, and give them faith in the possibility of their own success.

Scenario from repertoire
Fairy tale "The Three Little Pigs"

Scenery: Christmas trees made of paper, a house made of straw, made of branches, made of stones, made of cardboard.

Action 1. (forest)

They are all the same height, round, pink, with the same cheerful tails.

Even their names were similar. (The piglets come out). The piglets' names were Nif-Nif, Nuf-Nuf and Naf-Naf. (Bow in their name). All summer they tumbled in the green grass, basked in the sun, and basked in puddles.
But then autumn came.

The sun was no longer so hot, gray clouds stretched over the yellowed forest. And it started to rain.

Game with spectators “Rain”

The first drops fell to the ground (we hit the palm with one finger), the rain poured harder (with two), the downpour began (we clap our hands), the wind rose (woo-hoo), thunder rumbled (bang-bang-bang). But then the rain began to subside (we tap our fingers on our palms) and stopped completely.

It’s time for us to think about winter,” Naf-Naf said to his brothers. - I'm shaking all over from the cold. We might catch a cold. Let's build a house and spend the winter together under one warm roof.

But his brothers did not want to take the job. It is much more pleasant to walk and jump in the meadow on the last warm days than to dig the ground and carry heavy stones.

There will be time! Winter is still a long way off. “We’ll take another walk,” said Nif-Nif and somersaulted over his head.
“When necessary, I will build myself a house,” said Nuf-Nuf and lay down in a puddle.
“Me too,” added Nif-Nif.
- Well, as you wish. Then I will build my own house alone,” said Naf-Naf. I won't wait for you. Every day it became colder and colder. But Nif-Nif and Nuf-Nuf were in no hurry. They didn't even want to think about work. They were idle from morning to evening. All they did was play their pig games, jumping and tumbling.
“Today we’ll take another walk,” they said, “and tomorrow morning we’ll get down to business.”
But the next day they said the same thing.

And only when a large puddle near the road began to be covered with a thin crust of ice in the morning, the lazy brothers finally got to work.

Act 2 (at home)

Nif-Nif decided that it would be easier and more likely to make a house out of straw. Without consulting anyone, he did just that. By evening his hut was ready.

Nif-Nif put the last straw on the roof and, very pleased with his house, sang cheerfully:

At least you'll go around half the world,
You'll go around, you'll go around,
You won't find a better home
You won't find it, you won't find it!

Humming this song, he headed towards Nuf-Nuf. Nuf-Nuf was also building a house for himself not far away. He tried to quickly end this boring and uninteresting business. At first, like his brother, he wanted to build himself a house out of straw. But then I decided that it would be very cold in such a house in winter. The house will be stronger and warmer if it is built from branches and thin rods.

So he did.

He drove stakes into the ground, intertwined them with twigs, piled dry leaves on the roof, and by evening the house was ready.

Nuf-Nuf proudly walked around him several times and sang:

I have a good house
A new home, a durable home.
I'm not afraid of rain and thunder,
Rain and thunder, rain and thunder!

Before he had time to finish the song, Nif-Nif ran out from behind a bush.

Well, your house is ready! - Nif-Nif said to his brother. - I said that we can handle this matter alone! Now we are free and can do whatever we want!
- Let's go to Naf-Naf and see what kind of house he built for himself! - said Nuf-Nuf. - We haven’t seen him for a long time!
- Let's go see! - Nif-Nif agreed.

And both brothers, happy that they no longer had to worry about anything, disappeared behind the bushes.

Naf-Naf has been busy with construction for several days now. He collected stones, mixed clay, and now slowly built himself a reliable, durable house in which he could shelter from wind, rain and frost.

He made a heavy oak door in the house with a bolt so that the wolf from the neighboring forest could not get into it.
Nif-Nif and Nuf-Nuf found their brother at work.

What are you building?! - the surprised Nif-Nif and Nuf-Nuf shouted in one voice. - What is this, a house for a pig or a fortress?
- A pig's house should be a fortress! - Naf-Naf calmly answered them, continuing to work.
-Are you going to fight with someone? - Nif-Nif grunted cheerfully and winked at Nuf-Nuf.

And both brothers were so amused that their squeals and grunts were heard far across the lawn.

And Naf-Naf, as if nothing had happened, continued to lay the stone wall of his house, humming a song under his breath:

Of course, I'm smarter than everyone else
Smarter than everyone, smarter than everyone!
I'm building a house out of stones,
From stones, from stones!
No animal in the world

Won't break through this door
Through this door, through this door!

What animal is he talking about? - Nif-Nif asked Nuf-Nuf.
- What animal are you talking about? - Nuf-Nuf asked Naf-Naf.
- I'm talking about the wolf! - Naf-Naf answered and laid another stone.
“Look how afraid he is of the wolf!” said Nif-Nif.
- He is afraid that he will be eaten! - added Nuf-Nuf. And the brothers became even more cheerful.
- What kind of wolves could there be here? - said Nif-Nif.
- There are no wolves! He's just a coward! - added Nuf-Nuf.

And they both began to dance and sing:

We are not afraid of the gray wolf,
Gray wolf, gray wolf!
Where do you go, stupid wolf,
Old wolf, dire wolf?

They wanted to tease Naf-Naf, but he didn’t even turn around.
“Let’s go, Nuf-Nuf,” Nif-Nif said then. - We have nothing to do here!
And two brave brothers went for a walk. (Leave the stage).

On the way they sang and danced, and when they entered the forest, they made so much noise that they woke up a wolf who was sleeping under a pine tree.
- What's that noise? - the angry and hungry wolf grumbled dissatisfiedly and galloped to the place where the squeals and grunts of two stupid little piglets were coming from. - I’m so hungry. What do you want? (asks the audience).

Game “Edible - inedible” (with spectators).

Wolf: Oh, I’m hungry! (hides behind a tree).

The piglets come out: - Well, what kind of wolves can there be here! - Nif-Nif, who saw wolves only in pictures, said at this time.
- If we grab him by the nose, he’ll know! - added Nuf-Nuf, who had also never seen a live wolf.
- We’ll knock you down, tie you up, and even kick you like that, like that! - Nif-Nif boasted and showed how they would deal with the wolf.

And the brothers rejoiced again and sang:

We are not afraid of the gray wolf,
Gray wolf, gray wolf!
Where do you go, stupid wolf,
Old wolf, dire wolf?

And suddenly they saw a real live wolf! He stood behind a large tree, and he had such a terrible look, such evil eyes and such a toothy mouth that Nif-Nif and Nuf-Nuf had a chill run down their backs and their thin tails began to tremble little and little.

The poor piglets couldn't even move from fear.

The wolf prepared to jump, clicked his teeth, blinked his right eye, but the piglets suddenly came to their senses and, squealing throughout the forest, ran away.

Never before have they had to run so fast! Shining their heels and raising clouds of dust, the piglets each rushed to their home.

Nif-Nif was the first to reach his thatched hut and barely managed to slam the door in front of the wolf’s very nose.

Now unlock the door! - the wolf growled. - Otherwise I’ll break it!
“No,” Nif-Nif grunted, “I won’t unlock it!” The breathing of a terrible beast could be heard behind the door.
- Now unlock the door! - the wolf growled again. - Otherwise I’ll blow it so hard that your whole house will fall apart!

But Nif-Nif, out of fear, could no longer answer.
Then the wolf began to blow: “F-f-f-f-u-u-u!”
Straws flew from the roof of the house, the walls of the house shook.
The wolf took another deep breath and blew a second time: “F-f-f-f-u-u-u!”
When the wolf blew for the third time, the house was scattered in all directions, as if a hurricane had hit it.
The wolf clicked his teeth just in front of the little piglet's snout. But Nif-Nif deftly dodged and began to run. A minute later he was already at Nuf-Nuf's door.

The brothers barely had time to lock themselves in when they heard the voice of a wolf:

Well, now I'll eat you both!

Nif-Nif and Nuf-Nuf looked at each other in fear. But the wolf was very tired and therefore decided to use a trick.

I changed my mind! - he said so loudly that everyone in the house could hear him. - I won't eat these skinny piglets! I better go home!

You heard? - Nif-Nif asked Nuf-Nuf. - He said he won’t eat us! We are skinny!
- This is very good! - said Nuf-Nuf and immediately stopped shaking. - Since the wolf is gone, let's play.

Game with the audience “Flies or does not fly” (children show movements with their hands, if the one named flies, flaps its wings, if not, lower it)

The brothers felt happy, and they sang as if nothing had happened:

We are not afraid of the gray wolf,
Gray wolf, gray wolf!
Where do you go, stupid wolf,
Old wolf, dire wolf?

But the wolf didn’t even think about leaving. He simply stepped aside and hid. He found it very funny. He could hardly contain himself not to laugh. How cleverly he deceived the two stupid little pigs!
When the piglets had completely calmed down, the wolf took the sheep's skin and carefully crept up to the house.
At the door he covered himself with the skin and knocked quietly.

Nif-Nif and Nuf-Nuf were very scared when they heard the knock.
- Who's there? - they asked, and their tails began to shake again.
- It's me-me-me, poor little sheep! - the wolf squeaked in a thin, alien voice. - Let me spend the night, I have strayed from the herd and am very tired!
- Let me in? - good Nif-Nif asked his brother.
- You can let the sheep go! - Nuf-Nuf agreed. - A sheep is not a wolf!

But when the piglets opened the door, they saw not a sheep, but the same toothy wolf. The brothers slammed the door and leaned on it with all their might so that the terrible beast could not break into them.

The wolf became very angry. He failed to outsmart the piglets.

He threw off his sheep's clothing and growled:
- Well, wait a minute! There will be nothing left of this house now!

And he began to blow. The house is a little askew. The wolf blew a second time, then a third time, then a fourth time.
Leaves were flying from the roof, the walls were shaking, but the house was still standing.

And only when the wolf blew for the fifth time did the house shake and fall apart. Only the door stood for some time in the midst of the ruins.

The piglets began to run away in horror. Their legs were paralyzed from fear, every bristle trembled, their noses were dry. The brothers rushed to Naf-Naf's house.

The wolf overtook them with huge leaps. Once he almost grabbed Nif-Nif by the back leg, but he pulled it back in time and increased his pace.

The wolf also pushed. He was sure that this time the piglets would not run away from him.
But he was unlucky again.

The piglets quickly rushed past a large apple tree without even touching it. But the wolf did not have time to turn and ran into an apple tree, which showered him with apples. One hard apple hit him between the eyes. A large lump appeared on the wolf's forehead.
Author: - Guys, let's help the piglets escape from the wolf. We will line up like a snake, the piglets will be the head, and the wolf will be the tail. The snake's belly will begin to bend, covering its head.

Game with spectators “Snake”

Act 3 (Naf-naf's house from the inside)

And Nif-Nif and Nuf-Nuf, neither alive nor dead, ran up to Naf-Naf’s house at that time.

The brother let them into the house. The poor piglets were so scared that they couldn't say anything. They silently rushed under the bed and hid there. Naf-Naf immediately guessed that a wolf was chasing them. But he had nothing to fear in his stone house.

He quickly bolted the door, sat down on a stool and sang loudly:

No animal in the world
A cunning beast, a terrible beast,
Won't open this door
This door, this door!

But just then there was a knock on the door.

Who's knocking? - Naf-Naf asked in a calm voice.
- Open without talking! - the wolf’s rough voice rang out.
- No matter how it is! I won’t even think about it! - Naf-Naf answered in a firm voice.
- Ah well! Well, hold on! Now I'll eat all three!
- Try! - Naf-Naf answered from behind the door, without even getting up from his stool.

He knew that he and his brothers had nothing to fear in the strong stone house.

Then the wolf sucked in more air and blew as hard as he could! But no matter how much he blew, not even the smallest stone moved.

The wolf turned blue from exertion.

The house stood like a fortress. Then the wolf began to shake the door. But the door didn’t budge either.

Out of anger, the wolf began to scratch the walls of the house with his claws and gnaw the stones from which they were made, but he only broke off his claws and ruined his teeth. The hungry and angry wolf had no choice but to go home.

But then he raised his head and suddenly noticed a large wide pipe on the roof.

Yeah! It’s through this pipe that I’ll get into the house! - the wolf was happy.

He carefully climbed onto the roof and listened. The house was quiet.

“I’ll still eat fresh pig today,” thought the wolf and, licking his lips, climbed into the chimney.
But as soon as he began to go down the pipe, the piglets heard a rustling sound. And when soot began to fall on the lid of the boiler, the smart Naf-Naf immediately guessed what was happening.

He quickly rushed to the cauldron, in which water was boiling on the fire, and tore off the lid.
- Welcome! - Naf-Naf said and winked at his brothers.

Nif-Nif and Nuf-Nuf had already completely calmed down and, smiling happily, looked at their smart and brave brother.
The piglets didn't have to wait long. Black as a chimney sweep, the wolf splashed straight into the boiling water.
He had never been in so much pain before!

His eyes bulged out of his head and all his fur stood on end.

With a wild roar, the scalded wolf flew out of the chimney back onto the roof, rolled down it to the ground, somersaulted over his head four times, rode on his tail past the locked door and rushed into the forest.

And the three brothers, three little pigs, looked after him and were glad that they had so cleverly taught the evil robber a lesson.
And then they sang their funny song, guys, don’t you want to have fun with the piglets?

Stand in a circle:

At least you'll go around half the world,
You'll go around, you'll go around,
You won't find a better home
You won't find it, you won't find it!
No animal in the world
A cunning beast, a terrible beast,
Won't open this door
This door, this door!
Never a wolf from the forest
Never ever
Will not return to us here,
To us here, to us here!

(Common dance with the audience)

From then on, the brothers began to live together, under one roof.

That's all we know about the three little pigs - Nif-Nif, Nuf-Nuf and Naf-Naf.

Depending on the age of the audience, the games and the duration of the performance can vary.

The main goal was to involve as many students as possible in creative activities. I am a professional actress by training and it was not difficult for me to make the play. The first experience was successful. The performance took first place at the school theater competition. I was offered to work at a school as an additional education teacher.

From 2002 to 2005 academic years the following performances were staged:

• based on poems by B. Zakhoder,
• based on the fairy tale by A. Pushkin “About the Dead Princess and the Seven Knights”,
• Russian folk tale "Lubyanaya Izbushka"
• based on the poems of D. Kharms “Circus Printipram”,
• a performance based on the stories of E. Klyuev “Tales of a Simple Pencil”, which became a laureate of the district festival of school theaters.

Gradually I became interested and involved in school life. In parallel with the rehearsals, I began teaching children acting techniques, performing sketches of non-objective actions, studying plastic arts, and taking classes in stage speech. The class teacher began to note with surprise that the children involved in theater began to read, speak, and even think logically better; the academic performance and discipline of these children differed significantly from their peers. I was offered to create a school theater studio. New performances and new actors-students from both junior, primary and senior schools appeared in the studio.

The experience of working with 9 “A” grade was interesting. A group of students came to me and asked to take them all into the studio. They were ready to participate in any production, no matter what, as long as they were together and just now. I had to explain that first I need to get to know them, understand their individuality, and for this I need to start with sketches. I set the proposed circumstances, and ask the guys to exist in them, without inventing anything, to behave as they would behave in real situations. And then it turned out that by the ninth grade, children had acquired complexes, lost their sincerity and naivety of perception, could not behave naturally, and there was no need to talk about imagination. In a short time, we had to familiarize them with theatrical vocabulary, watch and discuss a number of theatrical works by famous stage masters, and introduce them to the world of theater, transformation, and performing tasks set by the director. In the meantime, I looked closely at them and looked for a play, so that everyone would have a role according to their abilities and, as they say in the theater, “to their individuality.”

Unfortunately, most girls want to do theater, and the plays are designed for male troupes, and I persuaded them to stage A. Usachev’s fairy tale “The Passion of Nastya,” where everyone found a suitable role. We defined the genre as “a farce with Petrushka,” and work began.

It was necessary to preserve the genre and style of existence on stage in costumes. The guys sewed some things themselves, some were selected from “grandmother’s chests.” The guys got acquainted with books on the history of costume, listened to folk music, learned to understand what suits our performance and what doesn’t quite fit, looked for musical themes for the line of lovers, To support the comedy of funny characters, they searched long and painfully for a tragic musical theme.

While rehearsing the performance, we continued to work on sketches, did stage training (plasticity and speech), gradually my actors began to take their first steps on stage and were already performing almost like professionals. The play was released towards the end of the school year and was performed 11 times. By the last performance, the guys admitted that they stopped being constrained, thinking about arms and legs, and everyone had the feeling that they were these characters, and the pleasure of playing on stage had finally come. It is also surprising that none of them intend to connect their lives with the profession of an actor, but with enviable persistence they come to the studio meeting every new academic year and wait for new works.

This group staged the play “Playing the Classics,” which included scenes from A. Griboedov’s plays “Woe from Wit,” N. Gogol’s “The Inspector General” and “Marriage,” and a dramatization of A. Chekhov’s story “Chorus Girl.” ». By the way, this performance was performed 10 times. This year, with this group, the 3rd performance based on the plays of A.P. is being produced. Chekhov . The guys admitted to me that after working on the performances, they became more interested in reading program works, and they began to understand them better. “It’s like we’ve grown up,” my students told me, and my parents told me in confidence that it had been a long time since their children had read their literature assignments with such zeal.

Today the theater studio has 90 people, and these are 6 groups of 15 people aged from 7 to 17 years. Each group is a small team with its own schedule and structure (as a rule, everyone studies in classes of the same parallel). Many children discover new professions, learn to work with their hands, and enjoy working as decorators, make-up artists, sound engineers, and stagehands.

Working in a theater group helps each participant better understand their capabilities, realize their own potential, and realize themselves in various forms of activity. The process of preparing and releasing a performance with each theater group is developed as a project. Each group chooses a dramaturgy, determines the stages of work, distributes responsibilities, and the performance itself acts as a presentation of the project.

If previously the entire process of learning the theatrical art of preparing performances lay on my shoulders, today, despite being very busy with their studies, the children are happy to additionally practice plastic arts, vocals, and stage speech with their teachers.

The main condition for enrollment in the studio is the child’s motivation - “I really want to do this.” Therefore, there is no selection or preliminary auditions when entering the studio. And who can say in advance what can happen with a lot of effort and the creation of conditions for identifying their creative potential. And I don’t set out to turn them into actors. It is important that the children, acquiring skills in the process of acting training and stage experience, differ significantly from most of their peers in the ability to speak, behave in public, and even think and reason logically.

My main task is to educate a harmonious personality who knows how to live and think creatively, who knows the ethics of behavior, who knows how to get out of a conflict situation, and most importantly, who knows how to distinguish good from evil, as taught by great Russian literature, drama and theater. Theater teaches you to work in a team, unite for the sake of the idea of ​​a performance, the ability to control your will, see and hear others, understand the nature of actions and behavior, manage your emotions and, most importantly, understand yourself and evaluate your capabilities.

We play the first performance for parents and friends, and after watching it, parents say with surprise and admiration that they have learned a lot about their children, new facets of their personality have unexpectedly revealed themselves. It turned out that all the children involved in the play have a talent for stage creativity. These meetings and discussions last until late, no one wants to leave, everyone is united by a warm, friendly atmosphere inside the studio and joy.

Almost all children entering the studio are characterized by uncertainty, tightness, and sensory-emotional immaturity.

A parent committee has been created at the studio, which meets once a month. The work of the committee includes parental assistance in designing performances and making costumes, as well as discussion after the performance of children’s works - a small artistic council. Both children and parents need this; now everyone has a common cause that unites the interests of children and the interest of parents in their children. Nowadays, there is a lot of entertainment and few things to do that can unite children and parents, and the time that parents can devote to their children and by their own example of a serious attitude to business can help in raising a responsible individual. Then we play for the school, where both teachers and students are present, then we invite neighboring schools, and finally we present the performance to the residents of our area

My work experience shows the enormous potential of school theater activities in educating young people and solving complex problems of their adaptation to life in modern society.

Almost all children entering the studio are characterized by uncertainty, tightness, and sensory-emotional immaturity. We have to spend a lot of effort to teach a child to speak correctly, to hold himself freely, and to reveal his individual and creative abilities. When working with newcomers to the studio, I set the task of liberating them, removing psychological and physical pressures; for this purpose, material is selected that is close to clowning, where children, in joy and freedom, create with inspiration, putting on funny costumes and making up according to the image of a clown, forgetting shyness and uncertainty .

Theater allows you to level out the starting opportunities for the development of a child’s personality and contributes to the choice of his individual educational path; provide each student with ; promotes self-realization of the personality of the child and teacher. Theater helps strengthen relationships within a team. Elements of coincidence in artistic creativity accelerate the development of empathy and positive feelings; enhances the sense of one’s own personal value, improves artistic and social competence.

Theater is a valuable tool in providing psychological assistance to children with various emotional and behavioral disorders and developmental problems, since it is much easier to establish contact with the child through games.

Classes in a theater studio can successfully overcome anxiety, irritability, fear, self-doubt, low self-esteem, communication difficulties, help resolve conflicts in the family and overcome fear of mastering a new field of activity.

Theater allows you to act out any traumatic situations: misunderstanding of loved ones, their coldness or overprotectiveness, betrayal, grief, loss of trust in the world, and also helps to understand your inner world, realize your own potential and evaluate the possibility of change. The very atmosphere of the theater is safe and encouraging, and therefore has a healing effect on the audience and actors.

Over the past years, I began to understand the importance of theater in the life of the school and each student individually. My observations revealed to me the enormous possibilities of theater in educating and shaping the personality of students, and experience showed the need for theater for children.

The activity of a teacher of additional education, like pedagogical activity, is managerial, regulating the interaction between students and parents, students and teachers, integrating and coordinating the educational influences of various social spheres. The sphere of additional education becomes an open search area in the process of updating the content of basic education, a kind of reserve and experimental laboratory for the latter.

The organic combination of basic education with additional education in educational complexes creates a real basis for the formation of a completely new type of educational space - a humanistic socio-pedagogical environment that promotes the versatile personal development of each child, the search for ways of self-determination, the emergence of a favorable socio-psychological climate as in individual children's teams, and at the level of the school community as a whole.

The extracurricular half of the day has a significant impact on the first half of the day, which is occupied by lessons. First, additional education has an impact on the educational process schools. Additional educational programs make schooling personally meaningful for many students; deepen and expand students' knowledge in basic subjects; stimulate educational and research activity of schoolchildren; increase motivation to study in a number of general education courses.

Secondly, school theater as an additional education has a significant educational impact on students: it contributes to the child’s need for self-development, forms his readiness and habit of creative activity, increases his own self-esteem and his status in the eyes of peers, teachers, and parents. Employment of students outside of school hours helps to strengthen self-discipline, develop self-organization and self-control in schoolchildren, develop skills for meaningful leisure activities, and allows children to develop practical skills for a healthy lifestyle and the ability to withstand the negative influences of the environment. The massive participation of children in the work of the theater studio helps to unite the school team, strengthen the traditions of the school, and establish a favorable socio-psychological climate in it.

It is a pity that the educational potential of school theater as an additional education is still not sufficiently recognized by teachers. Experience shows that school teachers then begin to truly value children’s extracurricular activities when they have a positive impact on their educational achievements.

Thus, the school theater is able to solve a whole range of problems aimed at humanizing the entire life of the school. This is only the first step towards creating a holistic system of additional education at school. The main thing is to do it. What happens next will depend on our desire, perseverance and ability to attract with us all those who care about what development our children will receive in a modern school and how we have prepared them for future professional self-determination.

To summarize, I would like to note that the use of theatrical techniques in conjunction with joint activities aimed at obtaining a socially oriented theatrical product certainly contributes to the formation of a team and, as a consequence, the development of social competencies of adolescents.

November 2009

About the author: Kolchugina Elena Konstantinovna, teacher of additional education, State Budgetary Educational Institution Secondary School No. 648 of the Northern Administrative District, Moscow, graduated from GITIS named after. A.V. Lunacharsky, Directing Department, course A.V. Efros and A.A. Vasilyeva.

Theater as a phenomenon, as a world, as a subtle instrument of artistic and social knowledge and change of reality, represents the richest opportunities for the development of a child’s personality. In other words, theatrical activity is a child’s path to universal human culture, to the moral values ​​of his people, the path to himself. The life of theatrical art at school (a theater lesson, an elective in theatrical culture or an amateur theater group) is always the basis for interpersonal communication among students, an opportunity to think about art and life. Today, school theater remains in demand by modern children. Because it “develops”, “finds talents”, “teaches how to overcome embarrassment”, “children are more frank in some ways than adults; “Children are more interesting to watch than adults”; “Sometimes children don’t understand adults’ games”; “In children’s theater, the actor and the audience are on an equal footing.” Behind these statements lies the sensitivity of the child’s soul to the falsehood of the “adult”, professional theater. One can read in them a protest against “feigned” feelings, a need for sincere, and not surrogate, emotions that mass culture offers.

The goal of children's theater is, first of all, the development of the participant in the children's theater, to reveal his ability to think more subtly and deeply, to enrich his spiritual world, the ability to listen and admire the work, the opportunity to exchange impressions and experiences of another actor.

First of all, it is necessary to take into account the characteristics of the theater, that is, it must be truly children's, in which children play, its differences from adults and professional ones. Take into account each age and abilities of each child individually. In addition, differences in goals and value outcomes must be taken into account. And as spectators, children must learn to feel the beautiful more brightly and sharply, aesthetically, be able to evaluate the phenomena, conflicts, characters, ideas reflected on the stage, the originality of their interpretation and artistic embodiment, and on this basis, cultivate in the child an aesthetic sense, taste, and aesthetic attitude to reality .

“Art is a human activity, consisting in the fact that one person, by consciously known external signs, conveys to others the feelings he experiences, and other people become infected with these feelings...” L.N. Tolstoy. Theater requires a lot of dedication and time. Children create, create, they do everything from the heart. Every child wants to show themselves, despite their appearance, speech impediments, children without the ability to act on stage, but the theater turns them into wonderful artists or spectators who are sensitive and able to appreciate the creative work of an actor.

The end product of children's theater is the creativity of children itself, exciting in its spontaneity and artlessness. Just as childhood is valuable in itself, and not as a preparation for adult life, so the creativity of children during a performance is a valuable result. It is not for nothing that children's theater will not be perceived by every person, but only by those who are interested and important in the child's inner world, his living and direct experience of artistic material, who is able to feel the joy of this experience, shared with the public. A play for children should have artistic value, be free from annoying didactics: to be theatrical, exciting and provide food for the development of the child’s imagination.

The process of including children in joint activities requires the provision of a variety of forms that develop the ability to interact with others, social competence, a sense of responsibility for a common cause, and the will to overcome obstacles. Only in practice-oriented forms of interaction between students and with the teacher are the skills of working in a team, respect for one’s own and for others, and an understanding of the importance of everyone in the common cause formed. In the field of developing skills in theatrical performing arts: development of performing skills, mastering the means of expressiveness of theatrical art, teamwork skills in preparing a theatrical performance (or scenes and fragments).

A special place in theater studies is occupied by working with fables as dramatic and reading material. To expand the range of expressive means, you can invite students to read the fable on behalf of each of the characters acting in it. The same task is served by working as a presenter, on behalf of the author or hero, while the technique of reading a fable on behalf of a character is enriched with the serious pathos of the performance. For educational and creative work on staging fables, theater teachers use the variability of interpretation and design of fables in different genres: tragedy, comedy, drama, melodrama, fantasy, realism, allegory, etc. This is how students gain and master initial concepts about the genre, and most importantly, questions about the hero in comedy, tragedy, and drama are resolved. An idea of ​​the conflict, event, and action in their specific, performance meaning is formed.

We would like to draw attention to the special place of radio theater in theater education. Radio theater has specific expressive means that impose certain obligations on the dramatic material, the performers’ technique, and the technical design of the performance. On the other hand, the radio theater genre makes it possible to hide from the viewer the sharp gap between the external development of girls and boys. Students, practicing recording dialogues, monologues, and remarks, master a special style of teamwork in front of a microphone, and also get the opportunity to listen, evaluate, and correct their work. While working on a radio play, the performer develops a desire to speak in a beautiful voice and be able to hear voice characteristics. In radio theater there are narrative and descriptive fragments, during the performance of which schoolchildren master a new level of artistic reading. The skill of seeing the picture behind the word is enriched by the desire to work with the text in such a way as to activate the imagination of listening.

In the life of a school theater, the importance of musical theater plays no small role; the pedagogical importance of musical theater is to ensure a situation of success, without which neither positive self-esteem nor self-realization of the child in any activity, including singing, is possible. On the one hand, a child’s self-realization is carried out, as a rule, as a result of active creative activity; on the other hand, a high level of self-realization determines the further development of children’s creative activity. Musical theater makes it possible to practically reproduce human activity as a system with its “mutually transforming units or components” - need, motive, goal, conditions and related activities, actions, operations. It is important here that need, motive, goal are “mutually transforming units”, and all components of activity transform into each other.

Another important aspect of theater interaction is associated with non-dramatic literature - prose and poetry. An independent creative product created by students is realized through the repertoire. Theatrical drama forms the creative activity of schoolchildren, and all components of the activity transform into each other.

Fine art in a performance is no less important than dramaturgy; the elements of painting - line, color, stroke, spot, volume, etc. - form the emotional composition of the performance, as well as the elements of verbal action - speech sound, melody, rhythm, intonation.

One of the types of theater studio is puppet theater, which instills in children a sense of beauty, the ability to perceive colors, feel the beautiful, and understand the surrounding reality. Under the influence, the children's imagination is stimulated and a desire arises to become the hero of these fairy tales themselves, to “revive” the artistic image.

To a certain extent, the means of musical expression are used in every performance, even if there is no music in it. Music emphasizes the ideological and emotional meaning, serves to create the emotional atmosphere of the performance, its counterpoint, and contributes to the rhythm of the stage action. In artistic performances, the actor’s very speech and the nature of his movements are subject to musical rhythms. In addition to the integral musical and dramatic score, the music reveals the soul of the performance of the role. It becomes a way of materializing an invisible, poetically transformed and encoded internal action on stage, which reveals the meaning of what is happening and reveals the essence of things. Music is a way of connecting phenomena; their comparison and cohesion is important in the construction of a holistic concept.

By designing performances, schoolchildren master the skills of a theater artist, who is a co-author of the director and creates the visual image of the work. Each production enriches students with new impressions and knowledge. You need to study the dramaturgy of the play, feel the era, understand the character of the literary heroes. The sense of dramaturgical material dictates the unmistakable choice of texture and spatial solution. In the process of working with students, it becomes obvious that the main thing in the work of a theater artist is to find a visual equivalent to the literary image of the author's thought.

Based on the above, we can say that every child, a “free artist by nature,” develops, first of all, personally, and not professionally, depending on his own needs, and acquires vital skills. The end product of children's theater is the creativity of children itself, exciting in its spontaneity and artlessness. Just as childhood is valuable in itself, and not as a preparation for adult life, so the creativity of children during a performance is a valuable result.

Rezeda YUSUPOVA, primary school teacher of the highest qualification category at gymnasium No. 125

Zukhra Khabibullina, teacher of fine arts of the highest qualification category at gymnasium No. 125

The influence of artistic and decorative works on a person is great and inexhaustible. Moral purity and attractiveness of folk ideals, embodied in the images of heroes of many fairy tales, ethnocultural flavor, folk wisdom, cheerful humor - all this opens the way to the heart of a little listener, reader, actor, affects the formation of his views, habits and behavior.

Children of primary school age love fairy tales. They listen to them with pleasure, and with pleasure tell them themselves, and even dramatize them. By instilling a love of reading, fine and decorative arts, it is necessary to instill a love of folk art, and working with a fairy tale, this is easy to achieve. It is necessary to put children in an emotional mood, to explain that there are no identical Russian and Tatar fairy tales. Each of them is interesting in its own way.

The theater group “Ole Lukoje” has been created and operates in our gymnasium for many years. During this time, in close cooperation on the basis of our class, we prepared and performed a number of puppet shows based on Russian and Tatar fairy tales: “Teremok”, “Kolobok”, “The Scarlet Flower”, “Hare Tears”, “Chatty Duck”. In decorative arts classes, children get acquainted with the paintings of folk craftsmen, make their own, using national colors, theatrical puppets and scenery for performances.

Theater activities in primary schools help us quickly and successfully unite the children's team, uniting them in a common cause, psychologically helping constrained, withdrawn children; develops speech, memory, imagination; provides a wide range for the development of creative abilities of schoolchildren, introduces them to the features of painting in the decorative arts; promotes the formation of patriotism, instills love for the native land.

Theater is a collective art. Children learn here what the standard general education process at school cannot always achieve from them. Classes in the theater discipline, develop a sense of responsibility to partners and the audience, instill a sense of collectivism, love of work, and courage. Theatrical activities combine the labor and artistic education of a schoolchild. Classes in a theater club help solve many problems: work on the text of a literary work, the formation of literary ideas, enrichment of the spiritual world and emotional sphere of the child, the relationship of all types of speech activity. In addition, the child’s personality significantly develops, intelligence and the level of general culture are formed, memory develops, reading skills improve, and an idea of ​​the diversity of world and domestic literature is formed.

Thus, theatrical art contributes to:

Formation of the individual as a native speaker of the language with its ethnic characteristics, capable of perceiving language as the highest gift, the national and universal value of language;

Development of the ability to perceive, understand, and interpret the spiritual content of an ethnocultural text as a condition for the formation of national identity and decorative art;

Studying the native language system as a means of developing the ethnocultural competence of schoolchildren;

Collaborative work between children and parents;

Introduces students to the spiritual wealth and beauty of their native word, captured in exemplary texts of oral and written speech, in works of folk decorative and applied art;

Raises children in the traditional culture of the Russian and Tatar people.

Puppet theater provides a great opportunity to develop children’s creative abilities, develops speech, teamwork skills and introduces them to the culture of the people.

ORGANIZATION OF THEATER ACTIVITIES FOR JUNIOR SCHOOL CHILDREN WITHIN EXTRA-CLASS ACTIVITIES

A modern school is in the process of modernization: technologies are being improved and new standards are being introduced. The formula is returned - “training + upbringing”, and the latter “should only go through the joint activities of adults and children, children with each other, in which the appropriation of values ​​by children is the only way. At the same time, education fundamentally cannot be localized or reduced to any one type of educational activity, but must cover and permeate all types: educational and extracurricular activities.”It is now that students should be involved in research projects, creative activities, and sporting events, during which they will learn to invent, understand and master new things, be open and able to express their own thoughts, be able to make decisions and help each other, formulate interests and recognize opportunities.

We believe that it is best to stimulate children to an imaginative and free perception of the world around them (people, cultural values, nature), which, developing in parallel with traditional rational perception, expands and enriches it, through the organization of theatrical activities.N.N. Bakhtin convincingly revealed the “educational” and “educational” and “ennobling” role of school theater. This effect is due to the fact that theatrical action in its psychological nature is close to children's creative play, which is of great importance for the development of many valuable personality traits of the child. Teachers are convinced in practice that the psychological characteristics of children's play bring it closer to the nature of performing arts. This creates natural prerequisites for acting with children. It is the youngest schoolchild who is able not only to discover the theater, but also to become an active participant in stage activities. Theatrical activity creates conditions for more successful socialization of the individual. In addition, the participation of children in the creative process of implementing a play at all its stages has great educational meaning.

Therefore, in our school for several years, as part of extracurricular activities, work has been organizedtheater studio "Semitsvetik" Anyone can participate in itchildren from 6 years old, without special requirements. The process of theater classes is built on the basis of developmental methods and, above all, the theory of the leading type of activity by A. Leontiev, and is a system of creative games and sketches aimed at developing the psychomotor and aesthetic abilities of children. Theatrical games are designed for the active participation of the child, who is not just a passive executor of the teacher’s instructions, but an accomplice in the pedagogical process. New knowledge is acquired in the field of problem situations that require joint active searches from children and adults.

Great importance is attached to individual and group work. The program is compiled taking into account and using modern innovative techniques and methods. Breathing and articulation gymnastics, educational games, exercises and trainings are used. These tasks are offered at the beginning of each theater studio lesson with a mandatory justification: what exactly these exercises develop (memory, attention, articulatory apparatus, fine motor skills, etc.), why these qualities are needed in the work of an actor and how they can be useful in people’s lives other professions.In addition to exercises on attention and imagination, we do exercises on interaction with each other, learn to work collectively, observe animals, objects, people, and learn to perform simple sketches.

Theater activities help expand the child’s consciousness, develop his ability to manage his feelings, teach the child to consciously relate to his feelings and inner world. In addition, they make it possible to comprehensively influence the fundamental areas of the child’s psyche: mind, will, feelings, and develop communicative universal educational activities. Participation in theatrical games and performances provides a “situation of success” for every child.

Well, and of course, special attention is paid to introducing schoolchildren to the basics of theatrical culture through conversations, excursions to the theater, acquaintance with creative groups of our city, and performances by visiting artists. Nothing impresses children more than performances by creative groups and getting to know the theater “from the inside.”

And last but not least. In any creative work, the child’s personality is highlighted and revealed to the maximum. For children, participation in productions may be their first experience of meaningful, appreciated, recognized creativity.

The form of theater gives the teacher the opportunity to freely express imagination, skills, and aesthetic preferences. Experience shows that during preparation and after the performance, the “teacher-student” relationship is enriched, becoming closer and more trusting. The authority of the teacher increases both in the children's group and in the eyes of parents and colleagues - spectators of the performance.

Literature

1. Federal state educational standard for primary general education. M, Education, 2011.
2. Approximate basic educational program of an educational institution. M, Education, 2010.
3. Generalova I.A. Theater. Allowance for additional education. 2, 3,4 grade. – M.: Balass, 2004. – 48 p.
4. Gurkov A.N. School theater. - Rostov n/d: Phoenix, 2005. – 320 p.