How to develop and educate children in the game?

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

• content and variety of subjects;
• constant, daily inclusion of theatrical games in all forms of the organization of the pedagogical process, which makes them as necessary for children as story-role games;
• maximum activity of children at all stages of preparation and conduct of games;
• cooperation of children with each other and with adults at all stages of organizing a theatrical game.

The sequence and complexity of the content of themes and plots selected for games are determined by the requirements of the education program for each age group of the kindergarten. The creative development of the topic begins with the preparation of a script for the game based on the plot of a literary work: a fairy tale, a story, a poem. Next, it is supposed to improvise children to a given or chosen by them topic.

The independence of the children's game depends to a large extent on whether they know the content of the fairy tale, the script. The author's text is very important to keep completely at the listening stage by his children. Do not distort it in any way. But you do not need to learn the text with the guys before the game starts. Such training would take time, meant for other, equally important affairs and occupations. In addition, the result will be a performance, not a game. We propose the development of games that do not require long painstaking preparation of the educator and children.

Questions may arise: how and when to introduce the guys to the contents of the script? How independent and creative will the game be if the children know the text of the work well? Maybe it's better to offer them an unfamiliar text? A well-known and, in general, quite justified recommendation - reading a work before the game - requires discussion and clarification. The reading becomes clear if it is sufficiently well illustrated. To this end, it is best to show live pictures on a flannel or on a table, or you can use a theater of toys or bibaboo dolls. So at the same time visual images are created, the ways of their emotional expressiveness and play are demonstrated.

Initially, the educator-leader is better to read the text himself, involving children to pronounce his individual fragments. In repeated games, the activity of children increases as they master the content of the text. Never require its literal reproduction. If necessary, correct the child and, without delay, play further. In the future, when the text is sufficiently well mastered, encourage the accuracy of its presentation. This is important not to lose the author's findings. Reading the poetic texts, connect the children as possible to the game. Let them actively participate in the dialogue with you, play along the main storyline, simulate the movements, voices, intonations of the characters of the game.

It is difficult for a teacher to learn a lot of poems, texts of different theatrical games. You can write them to tape. The tape recorder allows you to save the means of artistic expressiveness of the text, imaginative expressions of the author. But do not rely entirely on recording. As many can, learn the texts yourself. After reading the work should be combined with facial expressions. In addition, you can use the poems daily when dealing with children. For example, while washing toys - "For a long time, she washed and caressed them."

Participants in theatrical games should master the elements of reincarnation, so that the nature of the character, his habits are easily recognized by all. At the same time, give children more freedom in their actions, fantasies in depicting the theme, the plot of the game.

Each child wants to play a role. But how to do this, to experience satisfaction himself and get peer approval, almost no one knows. Malovyrazitelnye intonations, monotonous movements generate dissatisfaction with themselves, lead to disappointment, loss of interest in the game, and consequently, reduce emotional impact on children.

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

Before you teach children the means of expressiveness, check if you are ready for it yourself. For example, with how many different intonations can you say so familiar to all the words "hello", "help", "take", "listen", etc.?Try several times to change the meaning of the phrase by changing the logical stress( each time on another word): "Here is my doll", "Give me the ball."Well, to read a fairy tale, changing the voice depending on the character, say, speaking for the Little Red Riding Hood, for a wolf, you certainly know how. You can convincingly express fright, compassion, complaint, request 1 and while reading a poem by K. Chukovsky "Doctor Aybolit" or any other. Challenge yourself before speaking in front of children. Do not forget that the intonations of your voice are the patterns for them. From how flexibly and consciously you emphasize the intonation of the work, describe the images, the understanding of the tale, the verse, the story, and its emotional, moral impact on children, and the expressiveness of their statements also depends.

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

Next - small exercises with children. They should start with the younger group. To conduct better immediately after the end of the theatrical game. Children are delighted with how you drove the characters, as they say, acted for them. It's time to invite them to play the same way. For exercises, use the statements of the just-spoken characters. For example, in the fairy tale "Sleeve" you should ask for a mitten, like a mouse and like a wolf. Wishing to speak and listen, as a rule, a lot. Complicating the exercise - let them take turns in the house several mice. Who will complain more plaintively? And then they are for the wolf. Who looks like more? The rest, of course, are burning with impatience, wishing to speak. Let it be done for everyone. But first announce a contest - who is better? The winner is applause.

Children are more interesting when they not only speak, but also act like heroes of fairy tales. Pay attention to some ways of driving characters and let me try it for myself. The rest will also imitate the role movements. Attract children's attention to a better performance. Ten minutes of such exercises will satisfy the desire of the children to participate in the game, they will bring them joy. In addition, the necessary skills will be formed.

Next time, ask the pupils to play a dialogue between two characters: to pronounce the words and act for everyone. This is an exercise in intoning the dialogue. An example is the request of animals to put them in the mitten and the answers of those who settled in it.

Children well feel and repeat intonations built on contrasts. For example, how do the stepdaughter and stepmother's daughter address the months;as the three bears say. Exercise can be done like this. What is a fairy tale? And let the children guess which girl or bear you were talking about. Then they themselves with the help of intonation think of each other such puzzles. It is useful to use all the appropriate cases in everyday communication, playing to practice children in a variety of intonations of the most common words: "Hello"( joyfully, affably, benevolently, carelessly, sullenly);"Good-bye"( with regret, grief or hope for an ambulance, a meeting);"Give"( confidently, politely, impatiently, offended, begging);"Take"( carelessly, reluctantly, affably, with desire, please), etc.

Choose a quatrain and read it to children with different intonations. Ask them to repeat, or maybe find new variations of intonations, for example: surprised, mocking, bewildered, sad, cheerful, with compassion. Speak the phrase, putting the stress every time on a new word. For example: "Do not forget to feed the fish", "I love my little sister", etc. Note the children how the meaning of the phrase changes depending on the stressed word. Be sure to continue to practice them on fragments from theatrical games, for example, "Planted grandfather turnip", "And became Fedor good", etc.

In the circle of children, put a child in front of him, give him a character, take another one. Conduct a dialogue, involving his partner in him, so as to evoke in him the intonations of surprise, objections, joyful amazement, etc. For example, take yourself a cube, give the child a ball.

Teacher:

- What do you have?

- No, look carefully.

- No, not the ball, but the cube.

- Yes, a cube, a cube!

- Really? And what about?

- Is it really a ball?

Child:

- Ball.

- I see: the ball.

- Cube?

- No, not a cube, not a cube!

- The ball, the ball. ..

- Come on, ball!

Change toys to fairy-tale characters and invite other children to argue.

Similar exercises are developed and pantomimic means of expressiveness. For example, you can ask the children: "Who walked along the path( on the bridge)?" Ask them to choose a character( wolf, fox, hare, mouse).Without naming him, we must make a riddle about him by imitating his movements. Children guess who went on the path. Or another exercise: all wishing to choose the role of any famous character, but keep their plan in secret. They depict him in different tasks that you will think up, for example, to demonstrate a walk, search for food, a meeting of guests, a request to put into the house, running in competition, the ability to stealthily sneak up, catch birds, bugs, dodge pursuers, etc.

Watching with childrenperformers, teach the children to notice differences in the characteristics of the images. Well, if you give the opportunity to each depict in their own way.

To convey the nature of the character helps the music. For example, in music lessons, it is possible to encourage children to imitate the movements of various characters. For example, after listening to the song "Cockerel" by V. Vitlin, to depict how the cockerel sings when he fell ill and when he recovered.

The child, rhythmically striking the tambourine, shows how the bear is walking, the hares are jumping. Other children guess what movements correspond to movements of a bear and hares. Together with the musical accompaniment you can imitate the movements of a frolicking or tired horse.

But the musical riddles: "Show me how the hare jumps"( V. Agafonnikov, "Little, White");"Show how inaudibly, gently the cat moves"( V. Agafonnikov, "All Mokhnatenkaya");"Show me how the cock goes"( V. Agafonnikov, "Not a rider, but with spurs").

While the children will perform the task, you, along with the other guys, carefully look and note the features of the game of each "actor", attract the guys to find their own ways of showing. In the future, be sure to include these kinds of fragments in the theatrical games in order to find them practical application.

Each game requires its own means of expressiveness and creative discoveries. Therefore, many methodical techniques, we have directly included in the description of the plots of games. Your task is to find new, more interesting and perfect ones.

Various design of dolls: a swan - from a scarf, put on hand;a cat - from a dense tissue or paper.