Games to tell a biography about actors. The worst actors in the world. Terrible acting. Guess What I Do
Children's play is a joyful process of creativity. How to arouse and maintain play interest in acting? Indeed, in children's games, almost all people play enthusiastically. Actors get carried away on stage during acting not so often. For an actor, this is the highest peak of creative well-being on stage. Probably in children's games, players keep in mind the necessary game rules and the game is on. And winning is possible! Keep faith in yourself! So acting is much more difficult. Its rules are more complicated than the rules of just a child's game, and then the fun leaves the game, the excitement and interest goes away, which is largely based on the opportunity to prove oneself - to win, or to keep the game itself, to enjoy the fact that you can play this game. Can! Pay attention to the verbs - fun, fun, have fun. This state is present in any game situation. What amuses the playing person?
Let's take one of the simplest children's games - blind man's blind man's. Any game is sacred. The hidden meaning of this game is associated with the transition to another world - the world of "blind man's blind man". We, playing this game in childhood, did not suspect that we were playing with death. We, with excitement and some fear, teased the player-water, who played the "blind man" - a person who has lost touch with our world, who has lost his sight - the main channel for obtaining information about our world. And those who were caught by the “blind man” were out of the game with death. They became outside the game, i.e. beyond the line of life, on the other side of the measure. This trait-con always beckons the living-players. The desire to push the boundaries of the space of life beckons, because, by taking risks, running next to the player-"blind man's" and not falling into his hands, we gain freedom, we arm ourselves with the ability to live. Live in such a way as to avoid the fear of death. We increase the degree of possible risk, the degree of possible behavior for ourselves in this world. This is how we acquire this world, we appropriate it, we become its masters. The world, frightening and alien to us, becomes safe and dear. You just need to learn to live in it, skillfully manipulating its rules. It is from here that all the desires of a person to acquire something in this world grow: great physical strength, good health, beyond abilities, money, power, human recognition and love, to have many children or relatives, or friends, etc. etc. All this, in my opinion, is “one, but a fiery passion” to acquire some kind of super-armament in this world and against this world. Acquire a superpower that will allow you to cope with any restrictions of existence in the rules of the game of this world.
You can do some historical research on how people acquired this superpower in different historical times. One of these ways was suggested by Christ. This is the reverse way. In order to live freely and easily in this world, one must overcome the fear of losing earthly things, the fear of losing earthly life itself. This is what his life path teaches us - death tramples death ...
But let's get back to the game of blind man's buff. The essence of the rules of the game is that in the absence of a visual channel of perception (the water player is blindfolded), the “water” must catch (sell) players whose eyes are open and who are much more armed with his freedom and means of avoiding losing. He can only use hearing and touch. It is like the blindness of chance, which can be bypassed, beaten. But the game does not take place if the players do not take risks, i.e. do not give a "blind man" additional features catch yourself. At the same time, equality is restored in the forces of the players and the water-blind man's blind man. Only in this situation do players begin to show their maximum strength in an effort to catch or dodge. Only in the situation of the possibility of manifestation of the maximum expenditure of the forces of the players, there is gambling passion. At the same time, at any time, any of the players can take a break, stepping aside, or ceasing to catch players for a while. But not all games are so safe...
What's with the acting? If there is a need to transfer the game "in blind man's buff" to the stage, a game-in-game situation is created. And here the opposite happens! As in life, in order to survive, you must go to meet death. This is the path of Christ, this is the path of Ivan the Fool. Fool - doing the opposite, like a cancer, moving backwards, but moving towards the goal.
The fact is that if this situation needs to be played out on stage, then the actor playing “water” cannot help but see the situation. Otherwise, an accident may occur that will disrupt the programmed course of the game.
It is generally known that it is the programming of the course of the game that distinguishes a mere game or a life-game from a game on stage. In life, or in the game, we players do not know who will win and when. We know that we propose and God disposes. In acting, the player knows in advance who will win or lose what is at stake and when. In this sense, the actor "God" is on stage. He knows ahead of time what will happen. He is the creator - the author of the creation of life on stage.
But what is the game then? One of the main components of the game disappears - the desired win, as a result of the manifestation of its remarkable qualities. What is the actor playing? Who is he playing with? Who are his opponents in the game? What does he win or lose? What determines the skill of an actor's player?
These, at first glance, simple questions excite me as a researcher of acting. The actor has in the game this set means of achieving the goal and a certain logic of their use. This actor cannot change. There is no chance here. And the game is fascinating because a lot of it is based on chance. But the actor can change, depending on the situation, "how" he uses these play tools. This "how", in the acting school - "devices", and there is that zone of chance in which the actor's game lives and develops. But, to keep your behavior within the framework of a given, you can only move away from interfering factors: your own logic, knowledge of the fixed game plot and its vicissitudes. This means that the actor must constantly solve the problem of neutralizing some factors and dominating others during the game. It is well known that it is important for an actor to eliminate the factor of knowing those accidents of a character that the actor needs to “as if” not know. To do this, it is necessary to remove one knowledge to the periphery of consciousness, extinguishing interest in it, and update the other with the help of passion, fantasy, imagination. For the process of actualization, the actor constantly during the game needs to create in his imagination those pictures and thoughts that the character may have at that time. Those. the consciousness of the actor must be seriously occupied with work, so that there is no free space and time for irrelevant information.
So in everything: in order not to see “something”, it is necessary to occupy the sight of another “something”, to peer into another. At the same time, it’s not just to direct your eyes to another object (looks at a book, but sees a fig), but to conduct research, to perform real productive work in the mind.
Returning to blind man's acting, the water player needs to constantly create pictures of inner vision, which he must fantasize based on sounds and touch. If these pictures appear in the mind, then the pictures of real visual perception will be muffled, which prevent the actor from playing the "blind". At the same time, the actor must use these visual perceptions in order to fulfill the plan of the role, to embody the artistic concept. This means that he keeps two plans of behavior in his mind at the same time. To do this, the actor creates in his mind a temporary setting for two-dimensional behavior, which is an artistic concept, working on the energy of artistic need. The formed artistic need, or super-super-task, includes the energy of the will's need in the work. It is then that the law of behavior in acting is embodied, which says: it is necessary to be at the right time in the right mise-en-scene and perform the intended impact. If this law is fulfilled by all participants in the game, then the planned artistic result occurs “accidentally”.
Now let's think about the stages of mastering the acting game. First, the actors play real game, for example, "in blind man's buff". This is the testament of Mikhail Shchepkin - to take samples in nature. Then imitate nature. It means playing the same game, but with the "if only" rule. If the eyes were blindfolded or closed, then in fact they are open. Then we play in a bandage through which it is visible, but the viewer-observer does not know if it is visible or not. Then several people with a bandage over their eyes, and it is not known which of them has a bandage that is translucent and can be seen through it. If all players, both those who see through the bandage and those who do not see through it, behave according to the same laws, i.e. make similar movements, learning takes place - to behave in such a way that everyone saw, and therefore thought that the player doesn't actually see. This simple child's game translated into acting is the whole point of acting training.
If we understand that The form is the content and the means is the end, then it is quite clear that between the inner world of a person and the outer world there is a certain line, or a thin film-form of their interdependence. And if we understand the stage action as the movement of the actor towards the goals of the character, then the action, in this case, occurs on the orthoganal of holding the right physical movements that correspond to certain goals.
Then, probably, this is how the technology of pedagogy for mastering stage action and acting looks like this:
1. Mastering the skill creating a "target", or addresses of influence. This the law of creating a "vision" or plan. The ability to create a “vision” means looking at a partner in the game, and I see in him the real features of the manifestation of a given, for example, “hostility”, or vice versa, “love for me”. And the partner himself has nothing to do with it. It is “the way they look at him” and “the way they see him”. Seeing with “different eyes” is what allows you to “play the king”. I look at the wall in the rehearsal room, and I see, for example, the distant horizon and the expanse of the sea ...
2. Mastering "ballet" semiotics corresponding to this "target". For example, the semiotics of body movements during rain. The logic of the movements of the human body during the wind. And there is no wind! This is the same childish answer - "the wind blows because the trees sway." This "reversibility" of the process is inherent in the entire artistic and imaginative creative process of creating an artistic illusion. Therefore, the actor must at least master the bodily semiotics of the stereotypes of wordless behavior. Semiotics of stereotypes of verbal influence. This is the mastering of the first great law of acting art - law of identification. The artist behaves in such a way that he creates the world around him. This law of "creation of worlds" is perfectly understood in the art of pantomime, in stage movement. Etienne Decroux was the first to speak clearly about this, proclaiming a revolution in the training of the actor. But in order to behave in accordance with something, this “something” must be clearly represented and kept in consciousness. Therefore, without the first skill, the second does not work. So it is necessary to create a "vision" and you must be able to convey it through your movements. Then the same image, the same “vision” arises in the minds of “others”.
3. But in this case, it can be said that a talented actor who “creates worlds”, creates his partners as characters in a performance, does not need talented partners at all. In practice, this often happens. The viewer goes to the theater to see his favorite talented actor. This is an obvious soloist. But this practice of K.S. Stanislavsky destroyed and persecuted as negative. He asserted the principle of ensemble. It was this principle that allowed a group of actors to create the illusion of the integrity of the story taking place on the stage, in which the viewer believed. The conclusion is obvious. In order to create the illusion of the integrity of the story taking place on the stage, it is necessary that all the actors behave according to the laws of this story. This is the second great law - law of transformation. If the law of identification reveals a connection with the world and builds a score of the actor's movements from the outside, i.e. centripetal, then the law of transformation is centrifugal. This law builds the form of behavior from within. “I am a teapot…” and the body assumes the most expressive form of correspondence to this object. This means that the law of transformation says - "what I am and how my movements depend on me," and the law of identification says - "what is the world and how my movements depend on the surrounding world."
4. And the last law is law of opposition or contrast, or simply counterbalance. For only contrast allows us to distinguish one from the other. This is the ability to build a struggle, to reveal the conflict. To build a composition of the mise-en-scene of the location of body parts in space and bodies relative to each other. In other words, this is the development of the laws of "stage interaction".
It can be assumed that the content of the acting training process must be built on the basis of this logic and the sequence of acquiring the skills of an actor, where one presupposes the other, and in the aggregate allows you to create an acting game through the main thing - stage action.
"Mind, will, feeling!" - according to Stanislavsky.
THEATER GAMES (DESCRIPTION)
THEATER GAME
In addition to the proposed general developmental games, additional material can be found in the books:
♦ Chistyakova M.I. Psycho-gymnastics - M., 1995.
♦ Samoukina N.V. Games at school and at home: psychotechnical exercises, and correctional programs. - M., 1995.
♦ Theater lessons in the classroom / Comp. Ershova A.P. - M., 1992.
GENERAL GAMES
RELAY RACE
Target.
Game progress. Children sit on chairs in a semicircle. Starting the game, they stand up and sit down in turn, keeping the pace and not interfering with each other's actions. This exercise can be done in different options, inventing interesting game situations with children.
a) INTRODUCTION. Some favorite hero of children's fairy tales appears from behind the screen (Carlson, Little Red Riding Hood, Pinocchio, etc.). He wants to get to know the children and offers to stand up and say his name clearly following the previous one.
b) RADIO GRAM. Game situation: a ship is sinking in the sea, the radio operator transmits a radiogram asking for help. The child sitting on the first chair is a “radio operator”, he transmits a certain rhythmic pattern along the chain with claps or a pat on the shoulder. All children take turns repeating it, passing it on. If the task is completed correctly and the last child - the "captain" of the rescue ship exactly repeats the rhythm, then the ship is saved.
WHAT DO YOU HEAR?
Target. Train your listening skills.
Game progress. Sit quietly and listen to the sounds that will be heard in the study room for a certain amount of time. Option: listen to sounds in the hallway or outside the window.
EXERCISE WITH OBJECTS
Target. Train visual attention. Game progress. The teacher arbitrarily lays out several objects on the table (pencil, notebook, clock, matches, coin).
The leading child at this time turns away. On command, he approaches the table, looks carefully and tries to remember the location of all objects. Then he turns away again, and the teacher at this time either removes one object or changes something in their location. The driver, respectively, must either name the missing item, or decompose everything as it was.
HANDS-LEGS
Target. Develop active attention and speed of reaction.
Game progress. At one clap, the children should raise their hands, at two clap - stand up. If the hands are raised: one at a time - lower your hands, two at a time - sit down.
EXERCISE WITH CHAIRS
Target. To instill the ability to move freely in space, to coordinate their actions with comrades. (Sit on chairs, having built a given figure, it is necessary at the same time.)
Game progress. At the suggestion of the teacher, the children move around the hall with their chairs and “build” a circle (sun), a doll house (square), an airplane, a bus.
IS THERE NO?
Target. Develop attention, memory, imaginative thinking. Game progress. The players stand in a circle and hold hands; leading - in the center. He explains the assignment; if they agree with the statement, they raise their hands up and shout: “Yes!”; if they do not agree, they lower their hands and shout: “No!”.
Are there fireflies in the field?
Are there fish in the sea?
Does a calf have wings?
Does a piglet have a beak?
Does the mountain have a ridge?
Does the burrow have doors?
Does a rooster have a tail?
Does the violin have a key?
Does the verse have a rhyme?
Does it have any errors?
PASS THE POSE
Target. Develop memory, attention, observation, fantasy, endurance.
Game progress. Children sit on chairs in a semicircle and on the floor in Turkish style with eyes closed. The leading child invents and fixes a pose, showing it to the first child. He remembers and shows the next. As a result, the pose of the last child is compared with the pose of the driver. Children must be divided into performers and spectators.
REMEMBER THE PHOTO
Target. Develop voluntary attention, imagination and fantasy, coordination of actions.
Game progress. Children are divided into several groups of 4-5 people. Each group chooses a "photographer". He arranges his group in a certain order and "takes pictures", remembering the group's location. Then he turns away, and the children change positions and positions. The "photographer" must reproduce the original version. The game becomes more complicated if you offer children to pick up some objects or think of who and where is photographed.
WHO IN WHATCLOTHED?
Target. Develop observation, arbitrary visual memory.
Game progress. The leading child stands in the center of the circle. Children walk in a circle, holding hands, and sing to the tune of the Russian folk song “Like at our gates.”
For boys:
Stand in the center of the circle and don't open your eyes. Give me an answer as soon as possible: What is our Vanya wearing?
For girls:
We are waiting for your answer: What is Mashenka wearing?
The children stop, and the driver closes his eyes and describes the details, as well as the color of the clothes of the named child.
ATTENTIVE MATRYOSHKA
Target. Develop attention, coordination of actions, activity and endurance.
Game progress. Children sit on chairs or on a carpet, the teacher shows cards with a certain number of drawn nesting dolls. After a few seconds, he says: “One, two, three - freeze!”. There should be as many children as there were nesting dolls on the card (from 2 to 10). The exercise is difficult because at the time of the task, no one knows who exactly will be “getting up” and how many there will be. The willingness of everyone to stand up (if there are not enough "matryoshkas") or immediately sit down (if he sees that there are more people standing up than necessary) effectively affects the activity of each child. Alternatively, children can be offered not just to stand up, but to form a round dance from a given number of children.
FRIENDLY Beasts
Target . Develop attention, endurance, coordination of actions.
Game progress. Children are divided into three groups - bears, monkeys and elephants. Then the teacher calls one of the teams in turn, and the children must simultaneously complete their movement. For example, bears - stomp their feet, monkeys - clap their hands, elephants - bow. You can choose other animals and come up with other movements. The main thing is that each group performs its movement synchronously, communicating only with a glance.
TELEPATHS
Target . Learn to hold attention, feel a partner.
Game progress. Children stand scattered, in front of them is a leading child - a “telepath”. He must, without using words and gestures, contact only with his eyes with one of the children and change places with him. The game continues with a new "telepath". In the future, you can invite the children, changing places, to say hello or say something nice to each other. Continuing to develop the game, the children come up with situations where it is impossible to move and talk, but it is necessary to call a partner or change places with him. For example: “In intelligence”, “On the hunt”, “In the kingdom of Koshchei”, etc.
NEXT TO NEXT
Target . Develop attention, coordination of actions, orientation in space.
Game progress. Children walk around the hall in a chain, putting their foot only in the vacated "trace" in front of the one walking. You can't rush and step on your feet. In the course of the game, children fantasize where they are, where and why they are going this way, what obstacles they overcome.
For instance: a cunning fox leads her cubs along a path on which hunters have set traps; scouts go through the swamp over bumps; tourists move over the pebbles across the stream etc.
Be sure to divide the children into teams, and each team comes up with its own version.
FLYING- DOES NOT FLY. GROWING- DOES NOT GROW
Target . Develop attention, coordination.
Game progress. The teacher or the leading child names the object, if it flies, the children wave their arms like wings; if it doesn’t fly, they lower their hands down. If it grows, they raise their hands up; if it does not grow, they cover themselves with both hands.
SPARROWS- CROWS
Target . Develop attention, endurance, dexterity.
Game progress. Children are divided into two teams: "Sparrows" and "Crows"; then they stand in two lines with their backs to each other. The team that the leader calls catches; the team that is not called runs away to the "houses" (on chairs or up to a certain line). The host speaks slowly: "Wo - o-ro - o ...". At this point, both teams are ready to run and catch. It is this moment of mobilization that is important in the game.
A simpler option: the team that the host calls, claps his hands or begins to “fly” around the hall in a scattered way, and the second team remains in place.
FUNNY MONKEYS
Target . Develop attention, observation, speed of reaction.
Game progress. Children are scattered - these are monkeys. Facing them is a child - a visitor to the zoo, who performs various movements and gestures. “Monkeys”, mimicking the child, exactly repeat everything after him.
SHADOW
Target. Develop attention, observation, imagination, fantasy.
Game progress. One child - the driver walks around the hall, making arbitrary movements: stops, raises his hand, bends over, turns around. A group of children (3-5 people), like a shadow, follows him, trying to repeat exactly everything he does. Developing this game, you can invite children to explain their actions: they stopped because there was a hole ahead; raised his hand to catch a butterfly; bent down to pick a flower; turned because he heard someone scream; etc.
cook
Target . Develop memory, attention, imagination.
Game progress. Children are divided into two groups of 7-8 people. One group of “cookers” is invited to cook the first dish (which the children will offer), and the second, for example, to cook salad. Each child comes up with what he will be: onions, carrots, beets, cabbage, parsley, pepper, salt, etc. - for borscht; potatoes, cucumber, onion, peas, egg, mayonnaise - for salad. Everyone becomes in a common circle - this is a saucepan - and sing a song (improvisation):
We can quickly cook borscht or soup
And delicious porridge from several cereals,
Cut lettuce or simple vinaigrette,
Prepare compote.
Here's a nice lunch.
The children stop, and the host calls in turn what he wants to put in the pan. A child who recognizes himself jumps into the circle. When all the "components" of the dish are in a circle, the presenter suggests preparing the next dish. The game starts over. In the next lesson, children can be offered to cook porridge from different cereals or compote from different fruits.
EMBROIDERY
Target. Train orientation in space, consistency of actions, imagination.
movegames. With the help of a counting rhyme, a leader is selected - a “needle”, the rest of the children become, holding hands, followed by a “thread”. "Needle" moves around the hall in different directions, embroidering various patterns. The pace of movement can change, the "thread" should not break. Complicating the game, you can put obstacles on the way by scattering soft modules.
ATTENTIVEBEASTS
(an ear,nose,tail)
Target . Train auditory and visual attention, quick reaction, coordination of movements.
Game progress. Children imagine that they are in a forest school, where the teacher trains their dexterity and attention. The leader shows, for example, in the ear, nose, tail and calls what he shows. Children carefully follow him and name what he shows. Then, instead of an ear, he shows his nose, but stubbornly repeats: “Ear!”. Children should quickly orient themselves and correctly name what the leader showed.
LIVE PHONE
Target. Develop memory, auditory attention, coordination of actions.
Game progress. Numbers from 0 to 9 are distributed among the children. Then the host calls any phone number. Children with the corresponding numbers come forward and are built in the order of the numbers in the named number.
JAPANESE CAR
Target . Develop memory, visual and auditory attention, coordination of movements, a sense of rhythm, consistency.
Game progress. Children sit in a circle and perform a series of movements at the same time:
1) clap your hands in front of you;
2) clap both hands on the knees at the same time (right - on the right, left - on the left);
3) without straightening the elbow, throw the right hand to the right - up, at the same time snapping fingers;
4) do the same with the left hand.
When the children learn to act rhythmically and synchronously at\^/ different tempos, each child is invited to memorize their serial number starting from 0. The machine turns on again, and the children call their number in order of numbers for each click. At the next stage, with a click of the right hand, the participant in the game calls his number, and with a click of the left hand, any number that is involved in the game, thus passing the move to another child, etc. Children cope with this version of the game in the second half of the preparatory group.
TYPEWRITER
Target. Develop memory, attention, coordination of movements, sense of rhythm, coordination of movements, consolidate knowledge of the alphabet.
Game progress. The letters of the alphabet are distributed among the children, with some children getting two letters. The leader asks any word, for example "cat", and says: "Begin." The first to clap is the child who got the letter “k”, the second is the child with the letter “o”, and the last is the child with the letter “t”. The end of the word is indicated by the whole group with a common clap or standing up.
SPECIAL THEATER GAMES
EXERCISES AND STUDIES
GUESS: WHAT AM I DOING?
Target. Justify the given pose, develop memory, imagination.
Game progress. The teacher invites the children to take a certain pose and justify it.
1. Stand with your hand up. Possible answers: I put the book on the shelf; I take out a candy from a vase in a locker; I hang up my jacket; I decorate the Christmas tree, etc.
2. Kneeling, arms and body directed forward. Looking for a spoon under the table; I watch the caterpillar; I feed a kitten; I wipe the floor.
3. Squat. I look at the broken cup; I draw with chalk.
4. Lean forward. I tie my shoelaces; I pick up a handkerchief, I pick a flower.
THE SAME AND DIFFERENT
Target . Develop the ability to justify one's behavior, one's actions with fantasized reasons (proposed circumstances), develop imagination, faith, fantasy.
Game progress. Children are invited to come up with and show several options for behavior for a specific task: a person “walks”, “sits”, “runs”, “raises his hand”, “listens”, etc.
Each child comes up with his own version of behavior, and the rest of the children must guess what he is doing and where he is. The same action in different conditions looks different.
Children are divided into 2-3 creative groups, and each receives a certain task.
I group - the task of "sit". Possible options:
a) sit in front of the TV
b) sit in the circus;
c) sit in the dentist's office;
d) sit at the chessboard;
e) sit with a fishing rod on the river bank, etc.
II group - task "to go". Possible options:
a) walk along the road, around puddles and mud;
b) walk on hot sand;
c) walk on the deck of the ship;
d) walk along a log or a narrow bridge;
e) walk along a narrow mountain path, etc.
III group - task "to run". Possible options:
a) run late to the theater;
b) run away from an angry dog;
c) run when caught in the rain;
d) run away, playing hide and seek, etc.
IV group - the task of "waving your arms." Possible options:
a) drive away mosquitoes;
b) give a signal to the ship to be noticed;
c) dry wet hands, etc.
V group - the task "Catch the little animal." Possible options:
b) parrot;
c) a grasshopper, etc.
TRIP AROUND THE WORLD
Target. To develop the ability to justify one's behavior, develop faith and imagination, expand the knowledge of children.
Game progress. Children are invited to go on a trip around the world. They must figure out where their path will lie - through the desert, along a mountain path, through a swamp, through a forest, jungle, across the ocean on a ship - and accordingly change their behavior.
TRANSFORMATION GAMES
In the theater, the audience believes what the actor believes. Stage attitude is the ability to change one's attitude to an object, place of action or partners with the help of faith, imagination and fantasy, changing one's behavior accordingly, justifying a conditional transformation.
OBJECT TRANSFORMATION
Target. Develop a sense of faith and truth, courage, ingenuity, imagination and fantasy.
Game progress. The object is placed on a chair in the center of the circle or passed around in a circle from one child to another. Everyone must act with the object in their own way, justifying its new purpose, so that the essence of the transformation is clear. Options for the transformation of various objects:
a) a pencil or stick - a key, a screwdriver, a fork, a spoon, a syringe, a thermometer, a toothbrush, a brush for drawing, a blow-daughter, a comb, etc .;
b) a small ball - an apple, a shell, a snowball, a potato, a stone, a hedgehog, a gingerbread man, a chicken, etc .;
c) a notebook - a mirror, a flashlight, soap, chocolate, a shoe brush, a game.
You can turn a chair or a wooden cube, then the children must justify the conditional name of the object.
For example, a large wooden cube can be turned into a royal throne, flower bed, monument, bonfire, etc.
ROOM TRANSFORMATION
Target . Same.
Game progress. Children are divided into 2-3 groups, and each of them comes up with their own version of the transformation of the room. The rest of the children, by the behavior of the participants in the transformation, guess what exactly the room has been turned into.
Possible options proposed by the children: a shop, a theater, a seashore, a clinic, a zoo, Sleeping Beauty's castle, a dragon's cave, etc.
TRANSFORMATION OF CHILDREN
Target . Same.
Game progress. At the command of the teacher, the children turn into trees, flowers, mushrooms, toys, butterflies, snakes, frogs, kittens, etc. The teacher himself can turn into an evil sorceress and transform children at will.
ACTION GAMES WITH IMAGINATIONS
OBJECTS OR MEMORY OF PHYSICAL ACTIONS
WHAT WE DID WE WILL NOT SAY, BUT WE WILL SHOW YOU!
Target . Develop imagination, initiative, attention, the ability to act in concert, beat imaginary objects.
Game progress. The room is divided in half by a cord or a dash. On the one hand, there are “Grandfather and three or five grandchildren” chosen with the help of a counting rhyme, on the other hand, the rest of the children and the teacher who will make riddles. Having agreed on what the riddle will be about, the children go to the “grandfather” and “grandchildren”.
Children. Hello, gray-haired grandfather with a long, long beard!
Grandfather. Hello grandchildren! Hello guys! Where have you been? What have you seen?
Children. We visited the forest, there we saw a fox. We'll tell you what we did, but we'll show you!
Children show the riddle they made up. If "grandfather" and "grandchildren" give the correct answer, the children return to their half and come up with new riddle. If the answer is given correctly, the children say the correct answer and after the words "One, two, three - catch up!" they run over the line, to their house, and the “grandfather” and “grandchildren” try to catch up with them until they cross the lifeline. After two riddles, new "grandfather" and "grandchildren" are selected.
In riddles, children show how, for example, they wash their hands, wash handkerchiefs, gnaw nuts, pick flowers, mushrooms or berries, play ball, sweep the floor with a broom, etc.
KING (variant of the folk game)
Target . Develop actions with imaginary objects, the ability to act in concert.
Game progress. A child is chosen with the help of a counting rhyme for the role of the king. The rest of the children - workers are divided into several groups (3 - 4) and agree what they will do, what kind of work to be hired. Then they approach the king in groups.
Workers. Hello king!
King. Hello!
Workers. Do you need workers?
King. What can you do?
Workers. And you guess!
Children, acting with imaginary objects, demonstrate various professions: they cook food, wash clothes, sew clothes, embroider, water plants, etc. The king must guess the profession of the workers. If he does it right, he will catch up with the fleeing children. The first child caught becomes king. Over time, the game can be complicated by the introduction of new characters (queen, minister, princess, etc.), as well as come up with characters actors(role - greedy, cheerful, evil; queen - kind, grumpy, frivolous).
BIRTHDAY
Target. Develop skills of action with imaginary objects, "educate goodwill and contact in relationships with peers.
Game progress. With the help of a counting rhyme, a child is selected who invites children to a “birthday”. Guests come in turn and bring imaginary gifts.
With the help of expressive movements, conditional play actions, children must show what exactly they decided to give.
RHYTHMOPLASTY
GAMES FOR THE DEVELOPMENT OF MOTOR ABILITIES
ANTS
Target . Be able to navigate in space, evenly placed on the site, without colliding with each other. Move at different paces. Attention training.
Game progress. At the teacher's clap, the children begin to randomly move around the hall, not colliding with other children and trying to fill the free space all the time.
CACTUS AND WILLOW
Target . To develop the ability to control muscle tension and relaxation, navigate in space, coordinate movements, stop exactly at the signal of the teacher.
Game progress. At any signal, such as cotton, the children begin to move randomly around the hall, as in the Ants exercise. At the command of the teacher “Cactus”, the children stop and take the “cactus pose” - legs shoulder-width apart, arms slightly bent at the elbows, raised above their heads, palms with the back side turned to each other, fingers spread out like thorns, all muscles are tense. On the cotton of the teacher, the chaotic movement resumes, then the command follows: “Willow”. Children stop and take the “willow” position: arms slightly spread apart to the sides are relaxed at the elbows and hang like branches of a willow; head hanging, neck muscles relaxed. Movement resumes, teams alternate.
PALM
Target. Tighten and relax alternately the muscles of the hands in the hands, elbows and shoulders.
Game progress.“A big, big palm tree has grown”: stretch your right hand up, reach for your hand, look at
“Leaves withered”: drop the brush. "Branches": drop the arm from the elbow. “th whole palm tree”: drop your hand down. Repeat the exercise with your left hand.
WET KITTENS
Target. The ability to relieve tension alternately from the muscles of the arms, legs, neck, body; move loosely with a soft, springy step.
Game progress. The children move around the hall in a scattered way with a soft, slightly springy step, like little kittens. At the “rain” command, the children squat down and shrink into a ball, straining all the muscles. At the command of the “sun”, they slowly get up and shake off the “raindrops” in turn from each of the four “legs”, from the “head” and “tail”, respectively, removing the clamps from the muscles of the arms, legs, neck and body.
activities artisticliterature"Familiarization With artisticliterature, howmeans intelligence development...
EDUCATIONAL PROGRAM of the State educational institution of the city of Moscow
Research and productive activities, practical mastery by pupils of the norms of speech "Reading artisticliterature"Familiarization With artisticliterature, howmeans intelligence development...
Educational program of the state center for child development - kindergarten No. 1619 "swan" of the southern district education department
Main educational programmeansacquaintancepreschoolers With artisticliterature artisticliterature
Kindergarten No. 478 of the Southern District Department of Education of the Department of Education of Moscow
Main educational programBenefit. Ability Development meansacquaintancepreschoolers With artisticliterature. M. Perspektiva, 2010. L.A. Kondrynskaya, T.N. Vostrukhin. artisticliterature in the development of creative abilities ...
Introduction.
The focus of educators working with children before school age, there are tasks to create the necessary conditions for training and education; mastering the system of knowledge and methods of independent activity by children; implementation of the state standard for preschool education.
The assimilation of knowledge and skills by the child, the development of his abilities is carried out only in vigorous activity.
The most important activity of a preschool child is play. The game develops thinking, speech, imagination, memory, the rules of social behavior are assimilated and the corresponding skills are brought up.
One form of organization pedagogical process- is a theatrical game.
Through various forms of theatrical play, children improve their moral and communicative qualities, Creative skills, mental processes.
In solving these pedagogical problems, an important role is played by the coordination of the elements of theatricalization with the plan of educational work. Depending on the scheduling, you can select game and stage material. So, with children of primary preschool age on the topic “Autumn, Autumn, we ask you to visit!”, You can play the Russian folk tale “Turnip” using the cardboard theater. V middle group on the topic “How animals winter in the forest” - a staging in Russian folk tale"Wintering of animals". V senior group on the theme “Autumn Forest”, you can offer children a mini-staging “Riddles of the Lesovichka”, using glove puppets: a bear, a bunny, a fox. V preparatory group on the topic "Pancake week" for the lesson-game "Spring-Red" with folk games and round dances.
At the end of the school year, summing up the results of learning and the quality of children's knowledge, it is possible to diagnose the level of the child's emotional sphere and creative manifestation. The degree of manifestation of the emotional and creative abilities of children is assessed by indicators: high, medium, low. The dynamics of changes in the level of these indicators allows us to conclude that it is expedient to use the methods and techniques of theatrical games in the process of educational work.
Practice educational work and the annual comparative analysis of the quality of knowledge and indicators of the creative manifestation of children show: theatrical forms give impetus to the development cognitive abilities; activates thought processes; awaken creativity, imagination, fantasy.
Theatrical game, corresponding to the age of the child, is able to harmonize his appearance. Speech exercises, sketches, a theatrical story, a game-play, a fairy tale quiz, a fairy tale dramatization - all these forms of theatricalization develop mental processes, improve the moral and communicative qualities of a person, and awaken the desire for creativity.
Theatrical play contributes to:
1. The development of children's speech.
2. Development of moral and communicative qualities of a person.
3. Development of motor qualities and skills.
4. Development of creative imagination and fantasy.
5. Development of cognitive abilities.
The types of theatrical games are:
1. Games with elements of theatricalization.
2. Lesson-game.
3. Theatrical story.
4. Quiz-entertainment.
5. Performance-game.
The most important conditions in the implementation of gaming forms of work are:
1. Use of speech exercises.
2. The choice of exercises or tasks depending onchildren's individuality.
3. Ensuring psychological comfort in the classroom and outside the classroom.
4. Encouraging children to actively participate in a theatrical game, exercise, sketch.
Let us dwell on the methodology of theatrical games and the conditions for their implementation.
I. Games with elements of theatricalization.
Theatrical games include: speech exercises; sketches for the expression of basic emotions; sketches for the reproduction of the main character traits; games for the development of attention and memory; studies on the expressiveness of gestures; role-playing games.
1. Speech exercises affect emotional and personal
the sphere of the child; develop clarity of pronunciation; improve the intonation coloring of speech; develop the ability to use expressive means of voice. To perform these exercises, you must first learn the texts. Exercise can be group or individual. It is important that children do this meaningfully, emotionally, with interest. Texts should correspond to the age characteristics of children.
For example, such: “Echo”, “We are going, we are going on a cart”, “Pure talks” - develop expressiveness of speech, memory, imagination.
2. Studies on the expression of basic emotions develop moral and communicative qualities of a person; contribute to understanding the emotional state of another person and the ability to adequately express one's own. The content of the etudes is not read to children.
An emotional retelling of the proposed situation is a condition for creating a variety of game options on a given topic. Etudes should be short, varied and accessible to children in content.
So, in the sketch “The Chanterelle overhears”, children learn to convey the emotional state of the character through a certain posture and facial expressions.
3. In etudes for reproduction character trait Children learn to understand which behavior corresponds to which character trait.
The emphasis is on the model of positive behavior.
So, in the episodes "Greedy Dog", "Terrible Beast" through facial expressions, gestures, postures, children convey individual character traits (greed, isolation, cowardice, courage).
4. Games for the development of attention and memory develop the ability to quickly concentrate; activate memory and observation. In these games, children perform various movements on a signal, repeat the given movements and exercises.
So, in the game "Magic Circle" children perform various movements on a signal and develop attention; in the game "Clockwork toys" through reincarnations, the players develop motor-auditory memory.
5. Purpose studies on the expressiveness of gestures is the development of children's correct understanding of emotionally expressive hand movements and the adequate use of gesture. The content of the sketches activates the expressiveness of movements, creative imagination.
In the game "Snowballs" children through imaginary winter entertainment master the expressiveness of movements; in “Friendly Family” through pantomime, the accuracy and expressiveness of the transmitted actions develop: brush painting, knitting, sewing, modeling, etc.
6. Role-playing games with the use of elements of costumes, props, masks and dolls, they develop creative imagination, fantasy, communication skills. Children, together with the teacher, make masks, props, elements of costumes and scenery. Parents can participate in the preparation process.
In the game “Let's organize a general theater”, children, together with the teacher, make dolls from paper bags, cups and play everyday and fairy-tale stories. Collective relationships, creative imagination, fantasy develop.
II. Occupation-game.
This form of organization of pedagogical work may include: sketches, fragments of fairy tales, games with elements of theatricalization.
Fragments of a fairy tale are performed at the lesson in an improvised form. This method of conducting a lesson helps to solve program problems in an exciting way; positively affects the formation of the emotional and moral environment of the child. At a complex lesson-game based on the Russian folk tale "Masha and the Bear", children perform the teacher's tasks for the development of coherent speech, develop mathematical abilities, memory, attention.
III. Theatrical story.
Techniques and methods of theatrical storytelling can be used both during the lesson and outside it. While reading or telling a literary work, the teacher himself “plays” the characters, uses the intonation, emotional coloring of speech. Through expressive reading, acting out episodes; through illustrative material, children are immersed in the atmosphere of a literary work. All the tasks that are included in the program content of the lesson can be solved with the help of expressive game theatrical means. An example of such a theatrical form can be a lesson on familiarization with fiction: the Russian folk tale "Havroshechka".
IV. The quiz is fun.
The theatrical form of a literary quiz-entertainment helps to expand the horizons of children; activates the emotional and creative potential. Work is underway to make costumes and props. getting ready musical arrangement, a phonogram is recorded, texts are learned, excerpts from literary works are rehearsed.
The stage version of the lesson-game based on the works of A.S. Pushkin "Lukomorye" leads children on a fabulous journey. In this quiz, children participate in short dramatizations, answer questions, guess riddles. Preschoolers with interest and pleasure participate in the cognitive theatrical game.
V. Performance-game.
This form of work requires long and careful preparation: a special dramatization is written, taking into account the age-related individual characteristics of children. V game form rehearsals are being held. Scenery and costumes are being prepared, a poster and theater programs are being issued.
The performance-game, staged according to the Russian folk tale "Turnip", contributes to the disclosure of the creative potential of children, emotionally enriches the performers and spectators of the performance.
Thus, children through various forms of theatrical play develop moral and communicative qualities, creative abilities, and mental processes.
practical material.
Speech games and exercises .
1. "Funny poems" (for children 3-4 years old).
Purpose: To develop clarity of pronunciation. Pay attention to intonational expressiveness of speech.
Course: Children together with the teacher recite poetry. Gradually, from exercise to exercise, children acquire the skill of intonational expressiveness.
"There is a stump in the swamp,
He's too lazy to move.
The neck does not move.
And I want to laugh!”
“Was there a shoemaker? - Was!
Shil shoemaker? - Shil!
Who are the boots for?
For the neighbor's cat!
"Cat, what's your name?
Are you guarding the mouse here?
Meow! Do you want some milk?
And in the companions of the puppy?
2. "Echo" (for children 4-5 years old).
Purpose: To change the intonation coloring when reading the text.
Move: "We wandered in a dark forest,
We asked in unison:
Is grandma Yaga at home?
The forest answered us:
The text is repeated, only the adverb is replaced - as asked? -
“Friendly; quiet; menacingly; cowardly; boldly…"
3. "We're going, we're going on a cart" (for children 5-6 years old).
Purpose: To develop the purity of pronunciation, a sense of rhythm, expressiveness.
Move: "We're going, we're going on a cart,
Gather nuts in the forest
creak, creak, creak,
Creak, creak, creak.
The leaves rustle - shhhh,
The birds are whistling - fit-piryu, fit-piryu,
Squirrel on a branch
Nuts gnaws everything - tsok, tsok, tsok, tsok,
The red fox is guarding the hare, (pause)
Long, long ride
Finally, we've arrived!"
Purpose: To develop the ability to use expressive means of voice.
Move: “The sun has warmed (sing a high sound u-u-u)
A merry brook ran from the hillock (they speak their tongues, imitating the merry "gurgling").
To the brim filled a large deep puddle
(“gurgling” with low sounds).
Overflowed (“gurgling” wave: up and down).
Bugs got out from under the bark (w-w-w)
And insects (z-z-z)
We spread our wings (krsh-krsh- with an increase)
And they flew somewhere (tr-tr-tr - in a whisper).
Spring is here!"
5. Tongue twisters. Cleanliness.
Purpose: To improve the clarity of pronunciation.
Move: “Hot bricks!
Jump off the stove
Bake in the oven
From flour kalachi!
"Tara-bars, rastabars,
Varvara's chickens are old!"
"Senya was carrying a cart of hay"
"Sasha knocked the bumps off with a stick."
"An eagle on a mountain, a feather on an eagle."
“A beetle buzzes over the honeysuckle,
Green casing on the beetle"
Studies on the expression of basic emotions.
1. "The fox is eavesdropping" (for children 3-4 years old).
Purpose: To develop the ability to understand the emotional state and adequately express one's own (attention, interest, concentration).
Move: The chanterelle stands at the window of the hut in which the cat and the cockerel live. Eavesdropping. The head is tilted to the side - listening, the mouth is half open. The leg is set forward, the body is slightly tilted forward.
2. "Delicious sweets" (for children 4-5 years old).
Purpose: To convey the internal state through facial expressions (pleasure, joy).
Move: The girl has an imaginary box of sweets in her hands.
She hands it to the children one by one. They take a candy, thank, unfold the paper and help themselves. You can see from the faces that the food is delicious.
3. "Walk" (for children 5-6 years old).
Purpose: To consolidate the reproduction of various emotions (joy, pleasure, surprise).
Move: Summer day. Children are walking. Rain is coming. The children run home. Arrived just in time, a thunderstorm begins. The storm has passed, the rain has stopped. The children again went outside and began to run through the puddles.
4. "Battle" (for children 6-7 years old).
Purpose: To consolidate the reproduction of various emotions (joy, pride, fear). Development of creative imagination.
Stroke: One child depicts Ivan Tsarevich, the second -
The snake - Gorynycha (the head and hands are the heads of the Serpent). There is a battle going on. Ivan Tsarevich wins the victory Serpent - defeated.
Sketches for the reproduction of character traits.
1. "Old Man" (for children 3-4 years old).
Purpose: Through facial expressions, gestures to convey character traits (cheerful, kind, funny, mischievous).
Stroke: Read to the children a poem by D. Kharms "The Cheerful Old Man." Children imitate the states and actions that are spoken of in the poem.
"An old man lived in the world
Vertically challenged,
And the old man laughed
Extremely simple:
Ha-ha-ha, yeah he-he-he
Hee-hee-hee, yes boo-hoo!
Boo-boo-boo, yes be-be-be,
ding ding ding
Yes thump thump!
Once, seeing a spider,
Terribly frightened
But, clutching the sides,
Laughed out loud.
Hee hee hee, yeah ha ha ha
Ho ho ho, yes ghoul ghoul!
Gi-gi-gi, yeah ga-ga-ga
Go-go-go, yes boo-boo!
And when I saw a dragonfly,
Terribly angry
But from laughter to the grass
And so it fell:
Gee-gee-gee, yes gu-gu-gu,
Go-go-go, yes bang-bang,
Oh guys! I can not!
Oh guys! Ahah!
2. "Greedy dog" (for children 4-5 years old).
Purpose: Through facial expressions and gestures to convey character traits (greed).
Course: The teacher reads a poem by V. Kvitko.
“The greedy dog brought firewood,
He applied water, kneaded the dough,
Baked pies, hid in a corner,
And he ate it himself - din, din, din!
Children imitate the state and actions that are spoken of in the poem.
3. "Terrible Beast" (for children 5-6 years old).
Purpose: Through pantomime to convey the character traits and behavior of the characters (bold, cowardly, stupid, cautious).
Course: The teacher reads a poem by V. Semerin "A terrible beast." Children who have received roles act according to the text.
"Straight through the door of the room,
The beast of prey is invading!
He has fangs
And the mustache is bristling
His pupils are burning
I want to be scared!
Maybe it's a lioness?
Can a she-wolf howl?
The stupid boy shouted:
The brave boy shouted:
4. "Magic ring" (for children 6-7 years old).
Purpose: Through pantomime to convey character traits (good, evil, fair). Develop creative imagination.
Move: Evil wizard, with the help of an enchanted ring,
Turns a good boy into a bad boy. The boy offends everyone, teases, breaks everything. Finally, tired, he falls asleep. The good wizard offers to save the boy, remove the ring. All the children quietly approach and take off the ring.
The boy wakes up. He is affectionate again, asking everyone for forgiveness. Everyone is having fun.
Games for the development of attention.
1. "Be careful!" (for children 3-4 years old).
Purpose: To stimulate attention; respond quickly and accurately to sound signals.
Move: Children walk to cheerful music. Then, on the word "Bunnies", the children depict bunnies (jumping), on the word "Horses" - horses (kicking the floor with their feet), on the word "Crayfish" - they back away, "Stork" - stand on one leg, "Birds" - run with outstretched arms.
2. "Magic circle" (for children 4-5 years old).
Purpose: To perform carefully movements on a signal.
Move: Players stand in a circle. At the signal of the bell, the children take turns doing the following movements: one squats and stands up, the other claps his hands, the third squats and stands up, etc.
3. "Listen to the pops" (for children 4-5 years old).
Purpose: To develop active attention.
Move: Players walk in a circle. When the facilitator claps their hands once, the children should stop and take the stork pose (stand on one leg, arms to the sides). If the host claps twice, take the frog pose (crouch, heels together, toes and knees to the sides, hands between the legs on the floor). For three claps, the players resume walking.
4. "Silence" (for children 6-7 years old).
Purpose: To develop attention and the ability to quickly concentrate.
Stroke: Leading:
Hush, mice
rooftop cat,
And the kittens are even taller!
One, two, three, four, five,-
From now on, it's time to be silent!
The players are silent. The driver watches who speaks or laughs. This child pays a fant. When there are 5-6 phantoms, they are played. Each owner performs a feature number.
Games for the development of memory.
1. "Remember your place" (for children 3-4 years old).
Move: Children stand or in different corners of the room.
Everyone must remember their place.
Cheerful music sounds, everyone “turns into birds and moves around the room. The music ends. Everyone must return to their seats.
2. "Clockwork toys" (for children 4-5 years old).
Purpose: To develop motor-auditory memory.
Move: There are toys in the clockwork toy store: dolls, bunnies, bears, frogs, birds, butterflies. The music sounds: "the factory turns on at the toys."
Children move around the room. The music stops, the children return to their seats.
3. "Artist" (for children 5-6 years old).
Purpose: To develop attention and memory.
Move: The child plays the role of an artist. He carefully examines the one whom he will “draw”, then turns away, gives him a verbal portrait.
4. "In the mirror store" (for children 6-7 years old).
Purpose: To develop observation and memory.
Progress: There were many large mirrors in the store. A man walked in with a monkey on his shoulder. She saw herself in the mirrors and thought that these were other monkeys and began to turn her head. The monkeys answered her the same.
She stamped her foot and all the monkeys stamped their foot. Whatever the monkey did, everyone repeated exactly its movements.
Studies on the expressiveness of gestures.
1. "Hush" (for children 3-4 years old).
Purpose: To develop expressive hand movement and adequate use of gesture.
Move: The mice cross the road on which the kitten is sleeping.
They either walk on tiptoes, then stop and use signs to show each other: “Hush!”
Expressive movements: the neck is stretched forward, the index finger is attached to the compressed lips, the eyebrows “go up”.
2. "Game of snowballs" (for children 4-5 years old).
Progress: The etude is accompanied by cheerful music. Winter. Children play snowballs. Expressive movements: bend down, grab the snow with both hands, make a snowball, throw a snowball with sharp, short movements.
3. "Game with pebbles" (for children 5-6 years old).
Purpose: To develop expressiveness of movements, creative imagination.
Stroke: Children walk along the seashore, bending over pebbles.
They enter the water and splash, scooping water with both hands. Then, they sit down on the sand and play with pebbles: either throwing them up or throwing them into the sea. Light music is playing.
4. "Friendly family" (for children 6-7 years old).
Purpose: To develop expressiveness of movements, creative imagination.
Action: Children sit on chairs in a circle. Everyone is busy with business: one sculpts, the other drives a nail into the plank, someone draws with a brush, someone sews, knits. Children perform pantomime with imaginary objects, trying to convey actions more accurately.
Role-playing games using elements of costumes, props, masks and puppets.
1. "We play a fairy tale" (for children 3-4 years old).
Move: The teacher acts as a storyteller. Children, using masks, props, play out a fairy tale known to them. (“Turnip”, “Teremok”, etc.)
2. "Guess the situation" (for children 4-5 years old).
Purpose: To develop creative imagination and fantasy.
Progress: Children take turns using props and costume elements to “create a situation”. The rest guess:
1) "Tanya picks mushrooms in the forest."
The girl depicts a mushroom picker, in her hands is a basket and a staff, on her head is a scarf.
2) "Oleg swims under water."
The boy, in a mask for scuba diving, in a rubber cap, depicts a diver.
3) "Katya got caught in the rain."
A girl in a raincoat with an umbrella jumps through puddles, shivering from cold drops.
3. "Zhmurki" (for children 5-6 years old).
Purpose: To develop communication skills, creative imagination, fantasy.
Stroke: All children, together with the teacher, prepare masks for mice and cats. The cat mask does not have eyes cut out. Children sit in a circle. "Cat" - in the center. Cat: "Mouse, mouse, look!" One mouse fulfills the request. A cat in a mask with painted eyes does not see who. She has to guess whose voice it was. If he can't, let him touch the mouse's clothes. When it guesses correctly, a new mouse is selected.
The game continues.
4. "Let's organize a general theater." (for children 6-7 years old).
Purpose: To develop creative interaction, imagination, fantasy.
Stroke: All children, together with the teacher, make dolls from gloves, paper bags. Then, household or fairy tales are played out.
Literature
1. Burenina A.I. From play to performance. Toolkit. St. Petersburg, 1996.
2. Genov G.V. Theater for kids. M., "Enlightenment", 1968.
3. Gurin Yu.V., Monina G.B. Games for children from three to seven. St. Petersburg, "Rech", 2008.
2. Kryazheva N.L. Development of the emotional world of children. Yekaterinburg, U-Factoria, 2004.
4. Orlova F.M. We are having fun. M., "Enlightenment", 1993.
5. Ulikova N.A. In a word, the soul grows." St. Petersburg, "Start", 1999.
6. Chistyakova M.I. Psychogymnastics. M., "Enlightenment", 1999.
7. Theater lessons in the classroom at the school NII APS of the USSR. M., "Pedagogical workshops on artistic education", 1990.
8. Fopel K. How to teach children to cooperate. M., Genesis, 2006.
The theater actor is a profession entirely tied to practice and regular training. Acting games for children 5 years old, teenagers or adults are a mandatory attribute of the training program at a theater school. Like playing on musical instrument, where no theory can replace muscle memory and hand motor skills, performing arts is impossible without a number of developed skills, such as:
- observation;
- emotional memory;
- the ability to improvise;
- living imagination;
- partner feeling.
That's why teaching theater students does not involve boring cramming and sitting down with smart books. Indeed, despite the fact that the theory is still part of the course, no one cares how many quotes from Stanislavsky you know by heart, what matters is what you can show on the site.
The main condition for the development of any skill is necessity. It is of two types:
- Vital. A group of cavemen must learn to work together in order to drive the mammoth and not starve to death. They have no choice, so they either make it or die.
- Game. A group of students play as a group of cavemen who need to chase down a mammoth. Students won't die if they fail, but trying to satisfy a perceived need will also help develop interaction skills.
If the factor of vital necessity is absent, nothing but a game imitation will replace it. This is what makes acting games the most common and the only effective method artist training.
For kids
For children of preschool and primary school age, games are the leading type of activity through which they get acquainted with the outside world, gain valuable experience and develop comprehensively. Even the most simple acting games for children are educational and help the child develop certain skills. So, tags and catch-ups provide children with physical activity, the development of reactions and coordination, hide and seek - attention and logical thinking, daughter-mothers - communication skills in society, etc.
You can teach a preschooler through the game everything in the world. Just choose for him desired games and direct the gameplay.
For the development of stage skills in children, the best choice would be the acting game for elementary school that requires imagination. These games include:
- theatrical games - small game productions based on ready-made stories that can be taken from popular fairy tales or cartoons, involving any number of participants;
- face games - all games in which children act as a hero or character; such games differ from theatrical ones in complete freedom of action, their plot and content are invented by the child himself;
- games with dolls - games where a doll is an inanimate object that is endowed with the qualities of an animate during the game; similarly, drama students practice believing in the given circumstances, in particular, learning to act out sets and props as if they were real.
Imagination is the basis not only of acting art, but of creativity in general. Imagination games promote flexibility and variability of thinking: the ability to find non-standard solutions and think creatively.
For teenagers
When a child passes into adolescence, the all-consuming craving for games is replaced by a craving for communication. Now peer society is becoming the main source of experience and new information for the child, and the harmonious development of his personality is directly dependent on success in communication.
A teenager constantly feels a huge untapped potential in himself and is looking for a use for it. Acting can become for a teenager the way of self-expression that he needs so much.
It is very important for a teenager to develop in a timely manner such qualities as:
- healthy self-esteem and self-confidence;
- ability to find mutual language with peers;
- the ability to take initiative and be a leader;
- the ability to draw independent conclusions, make their own decisions and resist harmful outside influences.
The best acting games for teenagers are partner and teamwork games.
An example of a team game
- Participants stand in a circle, holding on to the rope (the length of the rope is taken at the rate of 1 m for each participant).
- The facilitator offers the team a figure (triangle, rhombus, square, etc.), which needs to be built with closed eyes, talking only orally.
- It is possible to play in the form of a competition between two teams, as well as for a while.
An example of a game for interaction with a partner
The game "Siamese twins" is very popular, where two partners, clasping each other by the waist, become, as it were, one fused body. They have only two hands for two and they are forced to walk, leaning on each other. In this form, adolescents perform the usual household activities, such as eating breakfast, getting dressed, or even playing tennis.
For adults
It is most difficult for an adult to teach acting skills from scratch, this explains the age limit on the admission of students in many theater schools (on average, up to 25–26 years). The fact is that adults during their hard life in society managed to acquire a lot of masks, behavioral patterns, stereotypes of thinking, standard reactions, etc. To teach an adult to play others, you must first teach him to be himself, weakening the grip of self-control.
Games for acting skills for adults are games for inner liberation and improvisation, the ability to “dive headlong” into any pool without preparation, without fear of making a mistake, arousing disapproval or seeming ridiculous.
An example of a game of emancipation and improvisation
- An actor enters the center of the stage, receives from the leading circumstance, and by the clap begins to exist in them. If the host shouted "Monkey!" and clapped his hands, the actor instantly turns into a monkey and exists in this image until the host shouts something new.
- It is important that each member of the group can be both an acting actor and a presenter.
- The more delusional and absurd the shouted out circumstances, the more contrasting their change, the more interesting and useful the exercise becomes.
There is a mathematical, humanitarian, and there is an acting school for adults, where you can improve the sound of your voice, make your speech literate and beautiful, get rid of the accent, relax, become a more pleasant and cheerful conversationalist, learn to act according to the situation, and so that it is advantageous and naturally.
Sample games and exercises for the section
theater game (1 year of study)
Goals:
- develop play behavior, readiness for creativity;
- develop communication skills, creativity, self-confidence, attention, memory, observation, aesthetic sense.
General developmental games are held in the first part of the lesson, directly theatrical games- in the final. When conducting these games, it is necessary to create a cheerful, relaxed atmosphere, to cheer up the squeezed and constrained children, not to focus on mistakes and mistakes. Many games involve dividing children into performers and spectators, which makes it possible to evaluate the actions of others and compare them with their own.
"What changed"
Target: develop visual memory, attention, endurance.
1 option: theatrical attributes are laid out in front of the children. For 1 minute, the children memorize their location, then close their eyes. The teacher swaps attributes or removes one. Children must identify what has changed.
Option 2: some of the children are "artists", they show a mise-en-scene from a performance, the rest of the children are spectators, remember it, then close their eyes. The scene is changing. The audience must restore the mise-en-scene.
"Catch the Cotton"
Target: develop voluntary auditory attention, speed of reaction.
Children are scattered. They must react to the teacher's clap - and clap at the same time. The teacher offers to catch a small ball (flower, coin).
Target : develop visual memory, voluntary attention, a sense of cohesion.
Several children form train cars, standing in a column. The child standing in front of them - a “locomotive”, must remember in what sequence his “cars” are. Then the “locomotive” turns away and calls the children “cars” in a clear sequence.
"Verbal portrait"
Target: develop observation, arbitrary visual memory.
The leading child stands in the center of the circle. Children walk in a circle, holding hands, and say the words: “Rise in the center of the circle, and do not open your eyes. Give an answer as soon as possible - Describe the portrait of Mashin. The children stop. The driver closes his eyes and describes the portrait (hairstyle, hair color, clothes, her color) of the named child.
"I put in a bag..."
Target: develop arbitrary auditory memory.
The teacher explains to the children sitting in a circle that they have an imaginary bag in which they can put any objects in a strict order. The teacher starts the game with the words: “I put in a bag ...”(names any object).The next child must repeat what was said and add his own subject, etc. Gradually memorized words become more and more. It is important to play them in the given sequence.
"At grandmother grows in the garden ... "
Target: the same as described above.
The teacher tells the children about a magical garden where anything can grow. The main thing is to remember the sequence of "grown up".
"Shadow"
Target: develop attention, observation, imagination, fantasy.
One child (leader) walks around the room, making arbitrary movements (stops, raises his hand, bends, turns). A group of children (3-5 people), like a shadow, follows him, trying to repeat everything exactly. what he does.
"Scouts"
Target: develop voluntary attention, speed of reaction. At a certain signal from one of the children - the commander, the children - "scouts" must perform actions. For example, at the signal of the blue
rockets (blue pencil) - crouch and hide, and at the signal of a red rocket - jump over an imaginary obstacle.
"Attentive Beasts"
Target: train auditory and visual attention, speed of reaction, coordination of movements.
The children are in the "forest school", where the teacher trains their dexterity and attention, pointing, for example, to the ear, nose, tail and naming them. Children closely follow him and name what he shows. Then, instead of an ear, he shows a nose, but stubbornly repeats the word "ear". Children must quickly orient themselves and correctly name what the leader showed.
"Funny Monkeys"
Target: develop attention, observation, speed of reaction.
Children-"monkeys" are scattered. Facing them is a visitor to the zoo (one of the children), who performs various movements and gestures. "Monkeys", mimicking him, repeat everything exactly.
"Mirror"
Target: the same as in the game "Funny Monkeys".
Children stand in pairs facing each other. One child is a “mirror” that reflects all movements, postures, facial expressions behind the child standing opposite. Then the children switch roles.
"Snowball"
Target: develop auditory attention, arbitrary memory, group cohesion.
Children sit in a circle. The teacher offers to “roll a big snowball”. The themes of the game can be different: the names of the children sitting, the professions of their parents, favorite fruits, flowers, etc. For example, the theme "Street where I live" is chosen. The first child names his street, the next one says the street where the said child lives, and then his own, and so on.
"Stools"
Goals: to instill the ability to move freely in space; coordinate with your comrades.
At the suggestion of the teacher, the children move around the hall with their chairs and “build” a circle (sun), a doll house (square), an airplane, a bus, etc.
"Friendly Beasts"
Target: develop attention, endurance, coordination of actions.
Children are divided into three teams: bears, monkeys, elephants. Then the teacher calls in turn one of them, which must perform its movement. For example, bears - stamp their feet, monkeys - clap their hands, elephants - bow. You can choose other animals and come up with other movements.
"Working with Emotion Models"
Target: acquaint with the mimic image of emotions.
The teacher draws the attention of children to the eyes, eyebrows, mouth, sketchy images of faces expressing various emotions. After the children learn to identify emotions from patterns, they are given cards and cut them in half across. Children are offered to find two suitable halves and connect them.
"Working with emotional schemas"
Target: develop fantasy, imagination, logical thinking.
Schemes-emotions are several successively depicted models of emotions connected by transitions-arrows. Children are divided into subgroups and offered to come up with a story. In this story, events occur with the hero in which he shows these emotions. For example, the scheme: sadness - surprise - joy. “A sad chicken was walking, saw his brother floating down the river on a leaf, and was very surprised. His brother invited him to swim with him. The chicken was delighted and went sailing with his brother.
"Guess what I'm doing?"
Goals: explain the given pose; develop memory, imagination. The teacher invites the children to take a certain pose and explain it. For instance:
- stand with your hand up. Possible answers: “I put the book on the shelf”, “I take the candy out of the vase in the cupboard”, etc.;
- lean forward. Possible answers: “I tie my shoelaces”, “I pick up a scarf”, “I pick a flower”.
"One and the same in different ways"
Target: develop the ability to justify one's behavior, actions with fantasized reasons; develop imagination, fantasy, faith.
Children are invited to come up with and show several behaviors for a specific task: a person walks, sits, raises his hand, etc. Each child comes up with his own version of behavior, and the rest of the children must guess what he is doing and where he is. This task can be performed in creative groups, each of which receives a specific task (sitting in a circus, watching TV, in a dentist's office).
"Trip around the world"
Goals: develop the ability to justify their behavior; develop fantasy.
Children are encouraged to go to trip around the world and figure out where their path will lie - through the desert, mountain path, swamp, through the forest. Accordingly, they must change their behavior.
"Item Transformation"
Target: develop imagination, imagination, ingenuity.
The object is placed on a chair in the center of the circle or passed around the circle from one child to another. Everyone must act with the object in their own way, justifying its new purpose, so that the essence of the transformation is clear. Options for transforming different objects: a pencil or a wand - a key, a screwdriver, a fork, a spoon, a thermometer, etc. For the transformation, you can take both small and large objects.
"Room Transformation"
Target: the same as in the game "Transformation of an object".
Children are divided into two or three groups, each of them comes up with their own version of the transformation of the room. The rest of the children, by the behavior of the participants, guess what exactly the room has been turned into. For example: shop, theater, seashore, hospital, etc.
"Children's Transformation"
Target: the same as in the game "Transformation of an object".
At the command of the teacher, children turn into trees, flowers, mushrooms, toys, animals.
"Etudes"
Goals: develop imagination, expressiveness of conveying emotions by various means; ability to work together.
Sketches can be offered by the teacher or composed by children. The themes for sketches should be close and understandable to children (“Quarrel”, “Resentment”, “Meeting”, “Joy”, “Anger”, “Sadness”, etc.). The next stage is the composition of sketches based on fairy tales, plots of poems, musical excerpts (“Gingerbread Man and the Fox”, “Tanya and the Ball”, “Girl and Doll”, etc.).
Games in this direction can be supplemented or changed at the discretion of the teacher.