3. Game block - dramatization

	Name
	"Three piglets" (Appendix 2)	To develop the ability to improvise, the ability to independently choose actions for the emotional expressiveness of moral values.	Distribution of roles (Nif-Nif, Naf-Naf, Nuf-Nuf); setting up decorations (houses, trees); Children imitate building houses and sing the song: “We are not afraid of the gray wolf”; A wolf appears and destroys the houses of two piglets; The piglets run to Naf-Naf's house and hide there from the wolf; The wolf enters the house through the door, and a bucket of boiling water is poured on him and he runs away. The piglets are dancing happily in the clearing again.
	"Cat, Rooster and Fox" (Appendix 3)	To reinforce children’s ideas about the need to help their loved ones, to cultivate responsiveness and compassion.	Distribution of roles (cat, rooster and fox); The cat goes into the forest to get firewood and punishes the cockerel on how to behave in his absence; A fox appears and sings the song “Cockerel, golden comb cockerel...”; The cockerel looks out the window and the fox takes him into the forest; The cockerel shouts: “The fox is carrying me through the dark forests...”; The cat runs in pursuit and takes away the cockerel; History repeats itself; The cat plays the harp near the fox's house; The fox peeks out, the cat grabs the cockerel and runs away with it.
	“Zayushkina’s hut” (Appendix 1)	To develop feelings of responsiveness and compassion in children; cultivate a desire to help those in trouble.	Distribution of roles (Hare, fox, cockerel, dog, bear); installation of scenery (trees, house); acting out the plot of a fairy tale (the heroes of the fairy tale appear and pronounce words in accordance with the chosen role); The fox's hut melts, and she goes to the bunny; The bunny lets his fox into the hut, she kicks him out; The bunny sits on a stump and cries; A dog approaches the bunny and offers help, but the fox scares it and the dog runs away; The bunny cries again, the bear approaches him, history repeats itself; The bunny cries, the cockerel comes up to him and offers help; The cockerel scares the fox, she runs away from the hut; The bunny is returning home.
	"Aibolit"	To instill in children a desire to care for those who are weaker, pity for sick animals.	Distribution of roles (Aibolit, watchdog, fox, hare); Setting up decorations (wood); Acting out the plot of the work (the heroes of the work appear and pronounce words in accordance with the role); Animals approach Aibolit and ask him to cure them and their cubs.
	"Teremok" (Appendix 4)	To form in children an emotionally holistic perception of fairy-tale images, to cultivate empathy.	Distribution of roles (mouse, frog, rooster, hare, fox, wolf, bear); installation of scenery (trees, tower); acting out the plot of a fairy tale (the heroes of the fairy tale appear and pronounce words in accordance with the role); A mouse, a frog, a rooster, a fox, a wolf come up to the tower and say the words: “Someone lives in a little tower, someone lives in a low one...”; A bear comes and breaks the tower; Children are building a new tower.

4. Block work with parents

1. Consultation for parents on the topic “Game - dramatization at home.”

Purpose: to talk about the influence of the game - dramatization on the formation of moral values.

2. Development of game scenarios - dramatizations for parents.

3. Consultation “Home Theater”.

Goal: to involve parents in joint play activities with their children.

Experimental work on the formation of moral values ​​with children of the seventh year of life was carried out in accordance with the project we developed. Conditions were created for the development of theatrical activity in children: a theater activity area (or a fairy tale corner) and a “spontaneous corner” (or a corner of solitude) were equipped, where the child can be alone, rehearse a role in front of a mirror, play a didactic game, leaf through a photo album and remember the plots in the performances played, etc.

Different types of puppet theater were located in the theater activity area:

· theater of upper puppets (the puppets are located above the actor working with them, above the screen);

· puppet theater (puppets are controlled using threads or wires and are located below the puppeteer);

· table theater;

· mask theater, etc.

Several practical classes have been organized to teach children the skills to work with these types of theater.

In the area of ​​theatrical activity there were also:

· screen for displaying puppet theater (light, convenient with a curtain for changing scenery during the performance);

· costumes for mummers;

· musical instruments.

One of the blocks of the project is “Working with fiction.” We made a strict selection of works of art that are the content of theatrical play, including dramatization play, based on the following criteria:

· compliance of the literary material with the stated goal - the formation of moral values;

· accessibility of content to children, its correspondence to the personal experience of a preschooler;

· plot content, dynamism of literary texts;

· ability to illustrate different behavior patterns in similar situations.

Based on the selected criteria, we can identify a number of works recommended for working with children. These include Russian folk tales:

· “Sister Alyonushka and brother Ivanushka”;

· “Cat, rooster and fox”;

· "Teremok";

· "Aibolit";

· “Zayushkina’s hut”;

· English folk tale "The Three Little Pigs".

We have developed an algorithm for introducing preschoolers to a work of art:

1) reading;

2) repeated reading;

3) conversation on the read work;

4) retelling, role-playing, learning by heart;

5) examination of books, illustrations, filmstrips, cartoons;

6) game sketches;

7) games - dramatization.

In the preschool educational institution where the research work was carried out, a developmental space has been created, which includes: a kindergarten library, a group library, a book corner in a group, a theater corner in a group.

The book exhibition was widely used by us in the process of introducing older preschoolers to fiction. The book exhibition allows children to have a more complete understanding of books. The exhibition used books of Russian folk tales and English folk tales. Small classes were held, the main purpose of which was to instill in children the need to look at the book and illustrations; expand children's vocabulary with outdated words; intensify the use of epithets in speech: resourceful, fair, sensitive, kind, responsive, etc.; contribute to the education in children of empathy, compassion, and a sense of camaraderie.

During the classes, we implemented the following stages:

2) vocabulary work (working with unfamiliar words);

3) looking at the illustrations in the book;

4) working with a book exhibition, searching for named works in small collections;

5) a conversation aimed at identifying the ideological content of works, cultivating moral feelings and personality traits.

In accordance with the project, we developed a general system for organizing games - dramatizations, it was as follows:

· getting to know the theater of a given genre, its structure, and the professions of people working in it through watching videos.

· familiarity with the text of the work.

· mastering expressive means of conveying an image in a given genre: facial expressions and movements in a dramatic performance; speech and rhythmoplasty - in music; voice and puppeteering - in puppetry. Exercises and sketches with characters and plot elements of a particular fairy tale were used.

· production of attributes and masks.

· organization of the games themselves - dramatizations: “The Three Little Pigs”, “The Cat, the Rooster and the Fox”, “Teremok”, “Aibolit”, “Zayushkina’s Hut”.

Preparatory work for the game - dramatization "The Cat, the Rooster and the Fox" included the selection of text, music, watching cartoons based on the fairy tale, and creating masks.

A block on working with parents was also implemented; its goal was to form an understanding among parents about the game - dramatization and how to play it at home with their children.

After experimental work at the formative stage of the experiment, we began a control examination of children. At this stage, we used a methodology for studying children’s ideas about moral qualities (methodology by G.A. Uruntaeva). All work was carried out individually with children of the seventh year of life.

First, a conversation was held with the children. Each child was asked questions proposed by the author of the methodology. Appendix 5

The research data were recorded in Table 5.

Table 5

Angelina N.	A) the one who always does well, shares with everyone; B) one who does not listen to anyone, swears, fights;	A) who always tells the truth and does not deceive; B) who lies to everyone and always deceives;	A) who always shares everything; B) gives nothing;	A) who are not afraid of anything; B) who is always afraid of everything;
Anton T.	A) who always does good and does nothing bad; B) acts badly and does not obey;	A) who does not deceive anyone; B) who always deceives everyone;	A) he gives everything to everyone; B) the one who gives nothing;	A) is not afraid of anything at all; B) who is afraid of everything;
Vladik S.	A) who obeys everyone and acts well; B) who does not obey and behaves badly;	A) who always keeps promises; B) one who promises and does not keep promises;	A) who shares everything; B) whoever shares toys, candies and everything in general;	A) who is never afraid of anything; B) who is afraid of everything;
Vova Sh.	A) who always shares everything if asked; B) who is always angry and does not listen to elders;	A) who does not lie; B) who does not do what he promised;	A) who doesn’t feel sorry for anything; B) gives nothing;	A) I’m brave, I go to boxing; B) who is always afraid of everything;
Gelya P.	A) these are people who always do everything right and well; B) those who scream, fight and get angry;	A) who does not deceive; B) who always lies;	A) who shares everything, does not feel sorry for anything; B) whoever does not share takes everything from the children;	A) who is not afraid of anything; B) who is afraid of everything;
Danil V.	A) who does everything well and smiles; B) who is always angry;	A) who does what he promised; B) who deceives everyone;	A) who gives everything to everyone; B) to whom it is a pity to give what they ask;	A) who is not afraid of anyone; B) who is afraid of everyone, everyone
Dasha Sh.	A) who always does well B) who is angry at everyone, screams and gets angry;	A) who doesn’t lie to everyone; B) one who promises and does not fulfill anything;	A) who allows everyone to play; B) who gives everything;	A) who is not cowardly; B) who is afraid of everything;
Maxim S.	A) who loves everyone and has a kind face; B) Anton always screams, he is angry;	A) who does not deceive; B) who deceives and lies to everyone;	A) who gives everything; B) the one who takes everything from everyone and gives nothing;	A) who is never afraid; B) who is afraid and is scared;
Nastya A.	A) who is good and does not shout; B) Anton and Timofey are evil;	A) they tell everyone the truth; B) who always cheats;	A) who shares everything; B) who does not give anything, not even toys;	A) who is not afraid of anything; B) who is afraid of everything
Sveta M.	A) smile at everyone, don’t fight, act well; B) who does not obey and fights;	A) keep promises; B) who lies on purpose;	A) who does not feel sorry for anyone; B) who takes everything for himself;	A) who is not afraid of anything; B) is always afraid.

When processing the data, we analyzed how aware children were of the concepts of moral values ​​and how this depended on the age of preschoolers. Accordingly, the subjects were divided into three levels of awareness of moral values. Appendix.

Analyzing the children's answers, it should be noted:

1. A generalized idea of ​​moral quality is formed in almost all children. Almost everyone explained qualities such as “good - evil” correctly, that is, “one who is friends with everyone; shares everything; doesn’t do anything bad” or “swears and does everything bad; who offends everyone; who is always angry...angry.” Only in Maxim S. does a specific person act as a bearer of this quality (“Anton always screams, he’s evil”). During the conversation, the children did not demonstrate incorrect formulations of moral quality.

2. Children differentiated the moral qualities “honest - deceitful”, based on a set of life situations from their own experience (“who keeps promises; who never lies; who does not deceive” or “who lies to everyone; always deceives”). It can be noted that all children correctly defined moral quality.

3. Almost all children have a generalized idea of ​​moral quality - “brave”. Only Vova Sh. has it assigned specifically to himself (“I myself, I go to boxing”).

Data processing on the formation of moral qualities was carried out taking into account the levels presented in Appendix 5 and is recorded in the table below.

Table 6

		A	B	A	B	A	B	A	B
	Angelina N.	IN	IN	IN	IN	IN	IN	IN	IN	IN
	Anton T.	IN	IN	IN	IN	IN	IN	IN	IN	IN
	Vadik S.	IN	IN	IN	IN	IN	IN	IN	IN	IN
	Vova Sh.	IN	IN	IN	IN	IN	IN	WITH	IN	IN
	Gelya P.	IN	IN	IN	IN	IN	IN	IN	WITH	IN
	Danil V.	IN	IN	IN	IN	WITH	IN	IN	WITH	WITH
	Dasha Sh.	WITH	IN	IN	WITH	IN	IN	IN	IN	WITH
	Maxim S.	IN	N	IN	WITH	IN	IN	IN	IN	WITH
	Nastya A.	IN	N	IN	WITH	IN	IN	IN	IN	WITH
	Sveta M.	WITH	IN	WITH	IN	WITH	WITH	IN	IN	WITH

Having analyzed the children’s answers at the control stage, it should be noted that:

1) the high level includes – 5 children (Angelina N., Anton T., Vladik S., Vova Sh., Gelya P.), which is 50%;

2) the average level includes 5 children (Danil V., Dasha Sh., Maxim S., Nastya A., Sveta M.), which is 50%;

3) there are no children with a low level of awareness of moral quality.

The results of the control stage were compared with the results of the ascertaining stage and presented in a comparative diagram (Fig. 5).

Rice. 5 - Studying ideas about moral qualities (conversation)

We were convinced that the results of the control stage of the experiment were higher than those of the ascertaining stage. Comparing the indicators of the control and ascertaining stages of the experiment, we found that after the work carried out, indicated in the program of the formative stage of the experiment on the formation of ideas about moral qualities in older preschool children with a high level, there was an increase of 20%; there were no children left with a low level of awareness of moral norms. .

Next, at the control stage of the survey, we carried out a methodology to study ideas about moral values; it was carried out during two series of studies (Kosheleva A.D.). In the first series, the children were read the fairy tale “Zayushkina’s Hut”, then an individual conversation was held with each child in order to identify the peculiarities of understanding the actions of the heroes, the ability to evaluate them from the standpoint of morality and morality. (Appendix 6)

The conversation data are presented in Table 7.

Table 7

Angelina N	A) Lubyanka. B) Ice.	The fox's hut melted, she asked the bunny to spend the night, he let her in, and the fox drove him away.	Everyone helped: the dog, the bear and the cockerel, but the cockerel scared the fox and she ran away.	Helped.
Anton T.	A) Lubyanka. B) Ice.	She outsmarted the bunny when he let her into his hut, and the fox kicked him out.	The bear and the dog helped, but the cockerel drove him out and helped the most.	I am not afraid of anyone, I will help everyone.
Vladik S.	A) Lubyanka. B) Ice.	The hare let her into the house, and she kicked him out of his house.	The dogs and the bear said: “We will help you, we will drive out the fox,” they wanted to help, but the fox scared them, but the cockerel was not scared and helped the bunny.	I'm like a cockerel, I would help.
Vova Sh.	A) Lubyanka. B) Ice.	In the spring, the fox's hut melted, she came to the bunny, asked to spend the night, he was kind and let the fox in, but she was cunning and kicked him out of the house.	The cockerel, the dog and the bear wanted to help, they calmed the bunny, but only the cockerel drove the fox out.	I will help everyone.
Gelya P.	A) Lubyanka. B) It was icy and melted in the spring.	She kicked the bunny out of the house when her ice hut melted, and the bunny let her into his hut.	Everyone helped, but the cockerel helped more; he drove the fox out of the bunny’s house.	I would help.
Danil V.	A) Lubyanka. B) Ice.	She outwitted him when she asked to spend the night, the bunny let him in, but the fox was cunning and kicked him out.	A cockerel with a sharp scythe helped, and a bear and a dog also wanted to help, but the fox scared them, then the cockerel kicked it out.	I will help.
Dasha Sh.	A) Lubyanka. B) Ice.	She deceived the bunny when he let her spend the night, and the fox kicked him out.	The cockerel helped, but the bear and the dog got scared and didn’t help.	I would help.
Maxim S.	A) Lubyanka. B) Ice.	The hare let the sly fox into the house, and she kicked him out.	Everyone wanted to help, but the cockerel had a scythe, and so the fox got scared of him and ran away.	I always help everyone.
Nastya A.	A) Lubyanka. B) Ice.	She asked to come to his hut, and then kicked out the bunny.	The bear wanted to help, and the dog wanted to help, but they were scared, and the cockerel helped, as he promised.	I will help.
Sveta M.	A) Lubyanka. B) Ice.	The fox deceived the bunny.	Everyone helped, but the cockerel drove the fox out.	I would help.

When processing the results, we were guided by the recommendations of this methodology. The children's answers were distributed as follows:

· correctly understand the meaning of the fairy tale – 10 children (100%)

· correctly determine “how the fox outwitted the hare” - 100% of children (100%);

· correctly identify “who helped the bunny and how” - 7 children (70%);

· would help those in trouble – 10 children (100%).

The results of the conversation on the fairy tale “Zayushkina’s Hut”, obtained at the control stage of the experiment, were compared with the results of the ascertaining experiment and presented in a graph.

A comparative graph for studying the characteristics of understanding the actions of heroes, the ability to evaluate them from the standpoint of morality and morality (Fig. 8).

Rice. 8 - Results of a conversation based on a fairy tale (in comparison)

The comparative graph allows you to see the difference in the research results, which shows positive trends in the formation of moral values ​​among older preschoolers.

After this, we began to conduct the second series of research, observing the performance of the Russian folk tale “Zayushkina’s Hut” in order to study the peculiarities of the manifestation of moral values ​​in the process of conveying the character and emotional state of fairy-tale characters (G.A. Uruntaeva, Yu.A. Afonkina). (Appendix 6)

Data from observation of the game - dramatization are presented in Table 8.

Table 8

	Surveillance Options
Angelina N. - played the role of a bunny	Used attributes throughout the game;	played with interest the role of the main character - the bunny, interacted with all the children during the game;	the speech is emotional, spoke with sadness, sadness in the voice;	jumped with her arms bent at the elbows in front of her chest;
Anton T. - played the role of a bear		helped other children, suggested the text to the “heroes”;	spoke in an expressive, menacing, languid voice;	He shifted from one foot to the other, walked slowly and heavily.
Vladik S. - played the role of a cockerel	used masks during the game;	listened to Anton's advice;	spoke loudly, clearly, “crowed”, the speech was emotional;	he walked at a marching pace, helping himself with his hands;
Vova Sh. - played the role of a bear	actively used attributes;	consulted with the children: “how does a bear walk?”;	roared like a bear, growled menacingly;	tried to imitate the gait of a bear, shifted from one foot to the other;
Gelya P. - played the role of a fox	used attributes;	suggested the text to the game participants;	she tried to portray the cunning of a fox in her voice;	walked on her toes, “wagging her tail”;
Danil V. - played the role of a dog	willingly used attributes in the game;	listened to the advice of his peers, but did what he thought was right: “I know everything myself”;	the voice is quiet, the speech is not emotional;	the gait was confident, imitating the character’s movements;
Dasha Sh. - played the role of a bunny	used attributes;	suggested the text of the work;	the speech was emotional, the voice was sad, she tried to portray the bunny’s fear;	she jumped on her toes, easily, with her elbows bent and her arms pressed to her chest;
Maxim S. - played the role of a dog	used attributes in the game;	consulted with the children, suggested the text, in the process of dramatization;	imitated the character's voice: “Woof! Woof! Don’t cry bunny, I’ll help you!”;	did not use non-verbal means;
Nastya A. - played the role of a cockerel	actively used attributes in the game;	helped peers perform roles;	was shy when pronouncing the text, spoke quietly;	walked at a marching pace, helping with her hands;
Sveta M. - played the role of a fox	attributes used;	actively collaborated with peers during the game;	She spoke slyly and emotionally. Imitating the character in every possible way;	she walked slowly, on her toes, making smooth movements characteristic of a fox.

Analyzing the data obtained during the observation, we note:

Positive relationships with peers during play.

It should be noted that most children actively interacted with each other. They consulted on how best to show the movements that are inherent in the hero, and with what intonation to convey his emotional state. Only one child, Danil V., listened to the children’s advice and did not follow it, but did what he thought was right, arguing it like this: “I know everything myself.”

Emotional transfer of moral qualities of characters through verbal means.

It should be noted that almost all children tried to emotionally convey the moral quality of the hero, using intonation and imitation of the character’s voice. Danil V. and Nastya A. spoke quietly and inaudibly, and were embarrassed when pronouncing the text.

Emotional transmission of characters' moral qualities through nonverbal means.

During the game - dramatization, most children used non-verbal means of conveying moral values. They “walked like a bear - heavily, swaying from one foot to the other,” “walked on their toes, wagging their tail like a fox,” “jumped like a bunny, bending their arms at the elbows and pressing them to their chest.” Maxim S. did not use non-verbal means during the game.

Thus, the analysis of the results of the observation showed:

1) used attributes in the game - 10 children, which is 100%;

2) entered into positive relationships with peers during the game - 9 children, which is 90%, 1 child played out his role somewhat separately;

3) emotionally conveyed the moral qualities of the characters through verbal means - 8 children, which is 80%;

4) emotionally conveyed the moral qualities of the characters through non-verbal means - 9 children, which is 90%

The data is presented in a graph (Fig. 9):

Rice. 9 - Comparative schedule of the ascertaining and control stages

Thus, our experimental work has proven that the process of forming moral values ​​in children of senior preschool age will be carried out more effectively with the systematic inclusion of games - dramatizations in the holistic pedagogical process. Significant in this case is the selection of works of art to play them out from the standpoint of the moral essence of the heroes’ actions. In addition, we note in the aspect of performance of games - dramatizations of creativity, manifested in verbal and non-verbal ways of conveying images of literary characters.

CONCLUSION

Studying the theoretical foundations of the identified problem allows us to note its relevance and the need for a solution in preschool age.

In the works of I.F. Isaeva, E.S. Rapatsevich examines the essence of moral values; in the works of S.A. Kozlova, P.G. Samorukova, V.S. Mukhina, features of their formation in preschool age.

The subject of study of play - dramatization, as a means of forming moral values, was not chosen by chance, since works of art and creative activity are the shortest way to convey to the child’s consciousness the moral essence of certain values. In addition, in games - dramatizations, children practice demonstrating such qualities as: sympathy, care, kindness, emotional responsiveness through playing out the images of a work of art.

Experienced experimental work with children of senior preschool age showed that all participants in the experiment were focused on a humane type of behavior with peers and in helping another person.

In addition, the seven-year-old children who participated in the experiment not only understand the experiences of other people, but are also able to apply their knowledge in everyday life. The study proved our hypothesis that the inclusion of dramatization games in the holistic pedagogical process will contribute to the formation of moral values ​​in older preschoolers.

Thus, theoretical and practical research allows us to note that an effective tool in the formation of moral values ​​in older preschool age is a game - dramatization.

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32. Eismont-Shvydkaya G.N. Moral education of preschool children [Text]/ Comp. G.N. Eismont-Shvydkaya. M., Education, 1969. - 167 p.

Annex 1

"Zayushkina's hut"

Once upon a time there lived a fox and a hare. The fox had an ice hut, and the hare had a bast hut. Spring has come, the fox's hut has melted, but the hare's hut remains as before. So the fox asked the bunny to spend the night, and kicked him out of the hut!

So the bunny sat down on a stump and cried. A dog meets him: - Tuff-tuff-tuff! What, bunny, are you crying?

Woof! Don't cry, bunny! I will help your grief!

They approached the hut, the dog barked:

Bang-bang-bang! Get out, fox!

And the fox from the stove:

The dog got scared and ran away.

The bunny sat down on the stump again and cried. A bear meets him:

What are you crying about, bunny?

How can I not cry? I had a bast hut, and the fox had an ice hut. Spring came and the fox's hut melted. She asked me to spend the night with me, but she kicked me out!

Do not Cry! I will help your grief!

No, you won't help! The dog chased it - it didn’t kick it out and you can’t kick it out!

No, I'll kick you out!

They approached the hut, and the bear screamed:

Get out, fox!

And the fox from the stove:

As soon as I jump out, as soon as I jump out, the scraps will go down the back streets!

The bear got scared and ran away.

The bunny is sitting on the stump again, crying more than ever. A rooster with a scythe meets him:

Whoops! What are you crying about, bunny?

How can I not cry? I had a bast hut, and the fox had an ice hut. Spring came and the fox's hut melted. She asked me to spend the night with me, but she kicked me out!

Let's go, I'll help your grief!

No, rooster, you can't help! The dog chased but didn’t drive him out, the bear chased him but didn’t drive him out, and you can’t drive him out!

No, I'll kick you out!

They approached the hut, the rooster stomped its paws and beat its wings:

Cuckoo-oo! I walk on my heels, I carry my scythe on my shoulders,

Get out, fox!

I'm putting on my shoes!

Rooster again:

I walk on my heels, I carry my scythe on my shoulders,

I want to whip the fox, get off the stove, fox!

Get out, fox!

Lisa says again: “I’m getting dressed!”

Rooster for the third time:

Crow! I'm walking on my heels

I carry the scythe on my shoulders!...

The fox ran out unconscious, the rooster waved his scythe - there was no trace of her!

And they began to live with the bunny in a bast hut.

Appendix 2

Fairy tale "The Three Little Pigs"

English fairy tale (Arrangement by S. Mikhalkov)

Once upon a time there were three little pigs in the world. Three brothers. The piglets' names were Nif-Nif, Nuf-Nuf and Naf-Naf. 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.

It’s time for us to think about winter,” Naf-Naf once said to his brothers, waking up early in the morning. - 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 earth and carry stones.

There will be time! Winter is still far away. “We’ll take a 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.

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.

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 home, 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 matter. 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 told you that we would quickly deal with this matter! Now we are free and can do whatever we want!

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.

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

A cunning beast, a terrible beast,

Won't burst through this door

Through this door, through this door!

When two little pigs entered the forest, they made so much noise that they woke up the wolf, who was sleeping under a pine tree.

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, they 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 snapped 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. The wolf began to blow. The house is a little askew. The wolf blew a second, then a third, 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 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.

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 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! - said Naf-Naf 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. 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, 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 cheerful song:

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!

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

Appendix 3

Fairy tale Cat Rooster and Fox

Russian folk tales

Once upon a time there was a cat and a rooster. One day the cat went into the forest to get firewood, and left the rooster to guard the house. At that time the fox came:

Crow, cockerel,

golden comb,

Look out the window

I'll give you some peas

This is how the fox sang, sitting under the window. The rooster opened the window, stuck his head out and looked: who is singing here? And the fox grabbed him in her claws and carried him to his hut. The rooster cried:

The fox carried me, the rooster carried me through dark forests, through dense forests, along steep banks, over high mountains. Cat Kotofeevich, save me!

The cat heard the cry and gave chase, overtook the fox, saved the rooster and brought him home.

Look, Petya,” the cat tells him, “don’t look out the window, don’t trust the fox: she will eat you and won’t leave any bones.”

The next day, the cat again went into the forest to get firewood for work, leaving, he punished the rooster to take care of the house and not look out the window. But the fox really wanted to eat the cockerel. She came to the hut and sang:

Crow, cockerel,

golden comb,

Look out the window

I'll give you a pea

I'll give you some grains.

The rooster walks around the hut, is silent, does not respond. The fox sang the song again and threw peas out the window. The rooster ate the peas and said:

No, fox, you can't fool me! You want to eat me... and you won't leave any bones.

That's enough, Petya! Will I eat you? I wanted you to stay with me, to see my life, to look at my goods!

Crow, cockerel,

golden comb,

oil head,

Look out the window

I gave you peas

I'll give you some grains.

The rooster looked out the window, and the fox caught his claws. The rooster crowed in a loud voice:

The fox carried me, the rooster carried me through dark forests, through dense forests, along steep banks, over high mountains. Cat Kotofeevich, help me out!

The cat heard the cry, gave chase, caught up with the fox and saved the rooster.

Didn’t I tell you, Petya, don’t look out the window - the fox will eat you and won’t leave any bones behind! Look, listen to me! I'll go far tomorrow

Here again the cat went into the forest to get firewood. The fox crept under the window and immediately began to sing a song. She crowed three times, but the rooster is still silent.

“What is this,” says the fox, “now Petya is completely numb!”

No, fox, don't fool me! I won't look out the window.

The fox threw peas and wheat out the window and sang again:

Crow, cockerel,

golden comb,

oil head,

Look out the window

I have a mansion,

The mansions are large,

In every corner

Wheat by measure:

Yes, you should look, Petya, how many wonders I have! That's it, don't trust the cat! If I wanted to eat you, I would have done it a long time ago. And then you see - I love you, I want to show you to people and teach you how to live in the world. Show yourself, Petya! Now I'm going around the corner!

And hid behind the wall...

The rooster jumped onto the bench, stuck his head out the window, and the fox grabbed his claws - and that was it! The rooster crowed at the top of his lungs, but the cat was far away and did not hear his cry. I came home, there was no cockerel. He took the harp and went to the fox. He sat down under her window and began to sing. The fox went out onto the porch to see who was singing there, and the cockerel jumped out after her. Then the cat grabbed the cockerel and ran away.

Since then, the cockerel has obeyed the cat. Now they live well and make good money.

Appendix 4

Teremok. Russian folk tale (retelling by M. Bulatov)

There is a tower in a field. A little mouse runs past. She saw the tower, stopped and asked:

Nobody responds.

The mouse entered the little mansion and began to live in it. A frog-frog galloped up to the mansion and asked:

Terem-teremok! Who lives in the mansion

I, little mouse! And who are you?

And I am a frog.

Come live with me!

The frog jumped into the tower. The two of them began to live together.

A runaway bunny runs past. He stopped and asked:

Terem-teremok! Who lives in the mansion?

I, little mouse!

I, frog-croak. And who are you?

And I'm a runaway bunny

Come live with us!

The hare hops into the tower! The three of them began to live together.

The little fox-sister is coming. She knocked on the window and asked:

Terem-teremok! Who lives in the mansion?

I, little mouse.

I, frog-croak.

I am a runaway bunny.

And who are you?

And I am a fox-sister.

Come live with us!

The fox climbed into the mansion. The four of them began to live together.

A top came running - a gray barrel, looked into the door and asked:

Terem-teremok! Who lives in the mansion?

I, little mouse.

I, frog-croak.

I am a runaway bunny.

I, little fox-sister.

And who are you?

And I am a top - a gray barrel.

Come live with us!

The wolf climbed into the mansion. Five of us began to live together. Here they are all living in a little house, singing songs. Suddenly a clubfoot bear walks past. The bear saw the tower, heard the songs, stopped and roared at the top of his lungs:

Terem-teremok! Who lives in the mansion?

I, little mouse.

I, frog-croak.

I am a runaway bunny.

I, little fox-sister.

I, the top - the gray barrel.

And who are you?

And I'm a clumsy bear.

Come live with us!

The bear climbed into the tower. He climbed and climbed and climbed and climbed - he just couldn’t get in and said:

I'd rather live on your roof.

Yes, you will crush us!

No, I won't crush you.

Well then, climb up!

The bear climbed onto the roof.

Just sat down - fuck! - crushed the tower.

The tower crackled, fell on its side and completely fell apart.

We barely managed to jump out of it: a little mouse, a frog, a little bunny, a little fox, a little sister, a top and a gray barrel - all safe and sound.

They began to carry logs, saw boards, and build a new tower.

They built it better than before!

Appendix 5

Studying children's ideas about moral qualities

Preparation of the study. Prepare questions for the conversation.

1.Who can be called good (evil)? Why?

2.Who can be called honest (deceitful)? Why?

3.Who can be called generous (greedy)? Why?

4.Who can be called brave (cowardly)? Why?

Conducting research. The study is carried out individually. A child between 3 and 7 years old is asked questions.

Data processing. Calculate what qualities children of the same age can explain. Analyzing these explanations, they determine what the child is referring to:

A generalized idea of ​​​​moral quality (“Greedy ... who regret: they take everything for themselves and leave nothing for the poor”);

On specific people as bearers of a certain moral quality in a specific situation (“Brave Zhenya. Because he is a very good boy, he doesn’t hit anyone, he runs fast... But I, of course, am faster... No one will catch up with him, not even Slavik”);

On literary and fairy-tale characters (“Good Santa Claus. He always comes and brings gifts”, “Doctor Aibolit is kind. He cured all the animals”);

To himself (“I can be called kind. I don’t offend anyone”);

On a set of life situations from one’s own experience (“Greedy is the one who doesn’t give candy. He eats everything himself,” “Greedy is the one who is greedy. For example, he says: “I won’t give you a piece of chocolate or chewing gum”);

For specific actions (“Greedy is the one who does not give you something to drink”);

To assess quality (“A good person can be called modest,” “Greedy...he’s bad”);

To an undifferentiated idea of ​​quality (“Fair, who does everything only fair”).

Levels of formation of ideas about moral quality:

high level: a generalized idea of ​​moral qualities has been formed;

intermediate level: moral qualities are explained using the example of specific people as bearers of a certain quality in a specific situation or using the example of literary and fairy-tale characters; also referring to oneself or a set of life situations from one’s own experience;

low level: do not explain moral quality or differentiate the idea of ​​quality.

Appendix 6

Studying ideas about moral values

Preparation of the study. Prepare the fairy tale “Zayushkina’s Hut”, questions for the conversation.

Conducting research. The study is carried out in two series. It is carried out individually with each child. The same children participate.

First episode. Children are invited to listen to the fairy tale “Zayushkina’s Hut” and answer the questions:

1.What kind of hut did the hare have in the fairy tale? The fox?

2. How did the fox outwit the hare?

3.Who helped the bunny? How?

4.What would you do if someone needed your help?

Parameters of survey results of the conversation.

Correctly understand the meaning of the fairy tale;

They correctly determine “how the fox outwitted the hare”;

Correctly determine “who helped the bunny and how”;

They would help those in trouble.

Second series. A game is being observed - a dramatization of the fairy tale “Zayushkina’s Hut” for children aged 3 – 7 years.

Data processing. Observation protocols are analyzed taking into account the following parameters:

3.08 37.24 7.07 27.02 1.84 45.37 Conclusions 1. As a result of the examination of children, it was found that the development of creative imagination and empathy in children of senior preschool age is at an average level. 2. The selection of funds helps to enrich the emotional experience of children and the emotional development of older preschoolers. 3. The developed methodology was effective...

The process of dramatization games as a means of mastering literary text by children of primary preschool age

1.2 Play-dramatization in early preschool age

The play activity of preschoolers is associated with the gradual advancement of the modern preschool child in the space and time of play. In the period from 3 to 6-7 years, with the help of an adult, he independently masters different types of individual and collective games.

Each type of games makes its own contribution to the development of cognitive and creative activity, the formation of the child’s personality and its relationships with the world, specifically influencing the formation of the prerequisites for educational activity as leading in the next age period. The game for children of the fourth year of life is a kind of “experimental platform” for getting to know the subject and social world, testing themselves and determining the boundaries of their capabilities, realizing individual needs and demonstrating the inclinations of future abilities.

In order for the community of children of the fourth year of life to become playful, directed pedagogical influence is required. The main pedagogical objectives are:

· assisting children in acquiring gaming skills, enriching their gaming experience;

· expansion of children's ideas about objects, events and phenomena of the surrounding world, which can then be reflected in the game;

· encouraging children's initiative when developing individual, paired and group games;

· creating conditions for children to be active during the day, etc.

Dramatization games are special games in which the child acts out a familiar plot, develops it, or comes up with a new one. It is important that in such a game the baby creates his own little world and feels like the owner, the creator of the events that take place. He controls the actions of the characters and builds their relationships. In the game, the child turns into an actor, a director, and a screenwriter. A child never plays such games in silence. Using his own voice or the voice of a character, the child pronounces events and experiences. He voices the characters, comes up with a story, experiences things that are not easy for him to live through in ordinary life. During such games, intensive development of speech occurs, vocabulary is enriched qualitatively and quantitatively, the child’s imagination, creative abilities, ability to control himself, maintain attention in accordance with the plot, logic and independence of thinking develop. All this acquires special significance in cognitive development and further educational activities. Therefore, dramatization games are extremely useful and necessary for a child at different stages of his development.

In dramatization games, the content, roles, and game actions are determined by the plot and content of a particular literary work, fairy tale, etc. They are similar to role-playing games: they are based on the conditional reproduction of a phenomenon, actions and relationships of people, etc., and also have elements of creativity. The uniqueness of dramatization games lies in the fact that according to the plot of a fairy tale or story, children play certain roles and reproduce events in the exact sequence.

Most often, fairy tales are the basis for dramatization games. In fairy tales, the images of heroes are outlined most clearly; they attract children with the dynamism and clear motivation of their actions, actions clearly replace one another, and preschoolers willingly reproduce them. Children's favorite folk tales “Turnip”, “Kolobok”, “Teremok”, “Three Bears”, etc. are easily dramatized. In dramatization games, poems with dialogues are also used, thanks to which it is possible to reproduce the content by role.

With the help of dramatization games, children better assimilate the ideological content of the work, the logic and sequence of events, their development and causality.

To develop dramatization games, it is necessary to: excite and develop children’s interest in them, children’s knowledge of the content and text of the work, the availability of costumes and toys. The costume in games complements the image, but should not embarrass the child. If it is impossible to make a costume, you need to use its individual elements that characterize the individual characteristics of a particular character: a cockerel's comb, a fox's tail, a bunny's ears, etc. . The teacher’s guidance lies in the fact that he first of all selects works that have educational significance, the plot of which is easy for children to learn and turn into a dramatization game.

You should not specifically learn a fairy tale with preschoolers. Beautiful language, a fascinating plot, repetitions in the text, the dynamics of the action - all this contributes to its rapid assimilation. When a fairy tale is told repeatedly, children remember it quite well and begin to join the game, playing the roles of individual characters. While playing, the child directly expresses his feelings in words, gestures, facial expressions, and intonation.

In a dramatization game, there is no need to show the child certain expressive techniques: the game for him should be just that: a game.

Of great importance in the development of dramatization play, in the assimilation of the characteristic features of the image and their reflection in the role is the interest of the teacher himself in it, his ability to use the means of artistic expression when reading or telling. The correct rhythm, various intonations, pauses, and some gestures enliven the images, make them close to children, and arouse their desire to play. By repeating the game over and over again, the children need the help of the teacher less and less and begin to act independently. Only a few people can participate in the dramatization game at a time, and the teacher must ensure that all children take turns participating in it.

Helping children learn the content of the game and get into character, the teacher uses illustrations for literary works, clarifies some of the characteristic features of the characters, and finds out the children’s attitude to the game.

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Dramatization games are special games in which the child acts out a familiar plot, develops it, or comes up with a new one. It is important that in such a game the child creates his own little world and feels like the master, the creator of the events that take place. He controls the actions of the characters and builds their relationships. In the game, a child turns into an actor, a director, and a screenwriter. A child never plays such games in silence. Using his own voice or the voice of a character, the child pronounces events and experiences. He voices the characters, comes up with a story, experiences things that are not easy for him to live through in ordinary life. During such games, intensive development of speech occurs, vocabulary is enriched qualitatively and quantitatively, the child’s imagination, creative abilities, ability to control himself, maintain attention in accordance with the plot, logic and independence of thinking develop. All this acquires special significance in cognitive development and further educational activities. Therefore, dramatization games are extremely useful and necessary for a child at different stages of his development.

Dramatization games should be distinguished from role-playing games. A distinctive feature of the former is not only the plot, but also the nature of the gaming activity. Dramatization games are one of the types of theatrical games. However, both have certain differences. Theatrical games, in contrast to dramatization games, have a fixed content in the form of a literary work, acted out by children in person. In them, as in real theatrical art, specific images are created with the help of such expressive means as intonation, facial expressions, gesture, posture and gait. There are also differences in the child’s level of independence.

Thanks to special pedagogical research conducted by L. Vyroshnina, N. Karpinskaya, E. Trusova, L. Furmina and others, the following was established.

Even children of older preschool age do not play dramatization games on their own. They are most interested in theatrical games at the suggestion of the teacher and under his guidance (L. Furmina). But, if from the first younger group children, with the help of the teacher, act out folk songs, nursery rhymes, small scenes, and in the second younger group, using toys and plane theater figures, they continue to do this, then already in middle age, dramatization play is possible as an independent activity (Sigutkina). There is several evidence to support this assumption.

It was found that children of the fifth year of life, in the process of theatrical activities, actively strive to bring personal, individual, original elements into the performance of roles (N. Karpinskaya). And in older preschool age, it becomes possible to specially teach children methods of artistic and figurative expressiveness (Kofman).

At the same age, it becomes possible to include fragments of theatrical activities using different types of theater in the system of classes for teaching children storytelling, as well as to use classes on speech development to enrich theatrical games (L. Vyroshnina).

It was also found that the effectiveness of theatrical activities largely depends on its integration with children’s visual arts classes. In the process of decorative and design creativity, children have the opportunity to think, reflect, remember and fantasize, which also has a positive effect on the expressiveness of the created images (E. Trusova).

In dramatization games, the child artist independently creates an image using a set of expressive means (intonation, facial expressions, pantomime), and performs his own actions in playing the role. In a dramatization game, a child performs a plot, the script of which exists in advance, but is not a rigid canon, but serves as a framework within which improvisation develops. Improvisation can concern not only text, but also stage action.

Dramatization games can be performed without spectators or have the nature of a concert performance. If they are performed in the usual theatrical form (stage, curtain, scenery, costumes, etc.) or in the form of a mass plot spectacle, they are called theatricalizations.

There are several levels of dramatization games:

1. Games that imitate images of animals, people, and literary characters.

2. Role-playing dialogues based on text.

3. Performances of works.

4. Staging performances based on one or more works.

5. Improvisation games with playing out the plot without prior preparation.

At each of the listed levels, several types of dramatization games can be used (L.P. Bochkareva):

1. Dramatization of works of art, when the child takes on the role of a character. At the same time, he enters the character and feels relaxed and free. As a rule, at the same time, his fear disappears, his speech acquires a bright intonation color, the gesture-facial side of speech and the ability to imitate develop.

2. Tabletop theater with planar and three-dimensional figures - these are cardboard or plywood silhouettes on stable stands. All characters are colored on both sides and move by sliding on the table. The plywood analogue is more durable and extends the period of use of the theater. This is especially true in preschool settings.

3. Tabletop cone theater. All the parts that make up the performing toys are geometric shapes. The head is a circle, the body and limbs are cones, the ears are triangles, and the mustache is rectangular stripes. The finished figurine body can be painted, supplemented with applique, etc. The dolls turn out to be voluminous and take up quite a lot of space on the table, so no more than three dolls are used in the performance. The semi-movable figure “slides” across the table. Since the field of activity with cone-shaped toys-actors in this type of theater is limited, since each set is intended for only one plot, and the cone figures have a low degree of mobility, all the creativity and imagination of the child is embodied in voicing the roles.

4. Dramatization games with fingers. They are especially useful for the development of fine motor skills of the hands, and at the age of 5 - 6 years, the mastery of finger theater prepares the hand for writing. In such a theater, all the characters, stage and plot are located... on one or two hands. There are special finger puppets for this. They are made of fabric and wood. The authenticity of the image can be considered one of the important signs of a quality toy. The dolls have softly drawn expressive faces without a hint of satire in the image, the animals have the characteristic features of a particular animal. Wooden toys can look like tiny character heads, or they can be a whole figurine with a head, torso, arms, legs or paws (if it's an animal). You can even find a wooden Snake-Gorynych with three heads. The parts of fabric or combined dolls must be made of high-quality materials and be well attached to each other. Wooden dolls have a recess for a finger, so when choosing a toy, it is important to pay attention to the size of this recess. The doll should fit your finger tightly without jumping out of it and vice versa, without squeezing too tightly. The thin and delicate skin of a child is vulnerable, so the wood must be well sanded. During the game, it is good to use a table screen, behind which the actors and scenery will change.

5. Puppet theater. A marionette is a doll on strings. The head and joints are attached with hinges and suspended from a wooden base, which controls the movements of this doll.

6. Shadow theater. This theater is rightly considered one of the most conventional theaters. In it, according to Nina Yakovlevna Simonovich-Efimova, “there are no impressions that distract attention (colors, relief). That is why it is accessible and well perceived by children. It is precisely because the silhouette is a generalization that it is understandable to children. Because the art of children themselves is generalized Children's drawings are always beautiful, always pleasant, and children draw with “emblems.”

It becomes obvious that the types of theatrical games are diverse. They complement each other and can take their rightful place in the educational work of a kindergarten and make the child’s life brighter, richer and more diverse.

According to the famous psychologist A.N. Leontyev, “A developed dramatization game is already a kind of “pre-aesthetic” activity. The dramatization game is, therefore, one of the possible forms of transition to productive, namely aesthetic activity with its characteristic motive of influence on other people"

In addition, thanks to the decorations and costumes, children have great opportunities to create an image using color, shape, and design. However, it is also necessary to remember the sanitary and hygienic requirements for theatrical equipment. For example, pediatricians believe that not all types of puppet theaters can be used in working with children of older preschool age. Prolonged actions by a child with his arm extended and raised above his head are contraindicated at this age, while puppet theater, in which children act while sitting, is recognized as one of the most psycho-physiological types of theater for children of this age. The appearance of the dolls also plays an important role.

A significant contribution to the solution of this issue was made by the artist Natalya Vasilievna Polenova, the daughter of the outstanding Russian artist V.D. Polenova. Natalya Vasilievna's dolls were very original. They had no profile, due to which a convention arose that was close to the culture of the ancient ritual mask of the northern peoples of Siberia, and the dolls seemed to turn into works of plastic art with a measure of convention present in them.

This idea of ​​Natalya Vasilievna was highly appreciated by artists, but was not picked up by teachers. Puppets for finger theater, puppets, etc. were and are being made in massive batches, with a molded head, in which facial features frozen in one expression are clearly indicated, which, by the way, are often not visible to the small viewer.

But the Waldorf kindergarten in its puppet theater makes extensive use of the plasticity and conventionality of doll images. Freya Jaffke writes about it this way:

“The appearance of the doll does not change throughout the entire action: whether she is laughing or angry, in a hurry or in no hurry, her face remains unchanged. Therefore, in performances for preschoolers, dolls with caricatured forms (for example, a witch with a long nose) should be abandoned; then children turn from observers into active participants in the performance. The character of the doll in its entirety can be expressed, first of all, through the color of clothing. For example, the yellow-gold robe of the king with a purple mantle exudes dignity, and the red-purple dress of the old wise woman evokes awe "Evil images are never surrounded by gentle light tones; muted dark colors are used for them."

We agree with the approaches of Waldorf teachers in matters related to the organization of this work and the technology of making dolls. But we believe that more attention should be paid to the artistic development of children.

In older preschool age, children develop a number of qualities that are valuable for further aesthetic development: activity, consciousness, independence, holistic perception of content and form, the ability to participate and empathize, spontaneity of impressions, brightness in the expression and manifestation of imagination. Thanks to these qualities, the child is already able to make a doll himself for his performance and convey its image through the color of clothes. For example, in art classes, children use cones to make the base of a puppet doll, and then, by drawing the face, clothing, and adding various additional details, they create the desired image. In another case, teachers and parents can make a base for dolls from fabric. And the children themselves can make many different cloaks and capes and other attributes. When preparing for a performance, with the help of clothes and additional attributes, children can create any image at their discretion.

At the same time, we do not agree with F. Jaffke’s approach regarding color, in which the yellow-golden color is associated with dignity, and the red-violet dress with wisdom. This forms color stereotypes. It is much more important to organize work with children in such a way that each child is able to find a corresponding visible image for his plan.

Obviously, not every child will become an artist or actor in the future. But in any matter, he will be helped by creative activity and a developed imagination, which do not arise on their own, but, as it were, ripen in his artistic activity.

Therefore, when working with children in theatrical activities, one cannot limit oneself to the development of only performing creativity. The measure of a child's own activity can be very different.

For some performances they can do everything themselves:

Consider the content of the performance;

Determine a role for yourself in it;

Based on your own ideas, make a doll for the performance or make a costume for yourself.

In others, they act only as costume designers and performers.

Thirdly, to simply be spectators and participants in the performance that teachers and parents will prepare for them.

But no matter what level of independence and activity the child chooses, the leading role is always played by the teacher. It is on his professional skill and personal interest that the degree of involvement of the child in the game, the maintenance of his interest and creative activity throughout the game, and the competent achievement of the set pedagogical and psychological goals depend. There are special requirements for the methodology for conducting and directing dramatization games at different stages of preschool age. We will consider these requirements in the next paragraph of our work.

Dramatization games are necessary and useful for children at different stages of their development.
Dramatization games are special games in which children themselves portray the heroes of literary works, most often these can be fairy tales, songs, and rhymes. In them, the child creates his own little world and feels like a creator, the master of the events taking place; he himself controls the actions of the characters and builds their relationships himself. The kid speaks in the voices of his heroes and worries about them. It’s as if he transforms into the image and lives its life.

During such games, speech intensively develops, vocabulary is enriched, the child’s creative abilities, his imagination, and the ability to control himself develop, and he learns to think independently and logically. All this is reflected in the further development of the child and in the future, on educational activities.

These games require special toys-artists:

While your Baby is still small, he is about 6 months old, you can put on a show for him yourself. It could be a cheerful green frog; he loves it more than any other toy. She will speak to the Baby in the voice of his mother, sing him songs and tell him simple rhymes. But rest assured, the Kid will not remain indifferent!

After one year, when he already understands speech well, you can “stage” a play with two toys - a Cat and a Horse or a Doll Masha. They can sing, dance with each other, recite rhymes, and run in their mother’s hands. True, the Kid will not see his mother’s hands, he sees only artists - DOLLs.

After two years, you can organize small classical performances with your child. For example, it could be the fairy tale “Kolobok”. You just need to choose the appropriate toys: wolf, fox, hare, bear. A kolobok can be made from a small ball - draw a face on it. At first, the child sees your game, it is very expressive, you constantly address him, including him in the game, and he, too, will want to be one of the heroes of the fairy tale and speak in his voice.
By the age of three, children are already playing with toys themselves, staging small performances, developing their imagination and improvisation.

FINGER DOLLS are very popular - these are dolls made of wood, fabric or other materials that are worn on the finger. You can buy them in the store, they are sold in sets, or you can make them yourself. Dolls can be made of cardboard, corks, acorns, knitted, sewn, combined.
Wooden dolls have a recess inside; it should fit tightly around the finger so as not to jump off, but also not to squeeze the fingers. The dolls have expressive faces, and the animals have their characteristic features. All heroes can fit on one or two hands. Kids will be happy to play with such dolls, pronounce the text, dance and sing with the toy on one finger, and then on several.
Finger theater is good when you need to show several characters at the same time. At first, you can act out a simple plot based on the fairy tale “Kolobok”, “Ryaba Hen”, then take more complex plots: “Little Red Riding Hood”, “Masha and the Bear”, “Geese-Swans”, “The Three Little Pigs”. For the game you can use a screen, they are sold in stores, or you can make it yourself.
The finger puppet theater is very useful for the development of fine motor skills, which has a beneficial effect on preparing the brush for writing.

Kids love to play with cardboard or plywood silhouettes on stands, painted on both sides, that move around the table - TABLE-FLASH theater. Such sets are always dedicated to some kind of fairy tale. The set always includes a lot of decorations: these can be houses, trees, bushes, streams. The child happily voices the roles of the characters in the fairy tale, while he can be the only “storyteller”, changing the intonation of his voice. He can even voice the voice of the wind, thunder, and the noise of trees.
This game is suitable for children from four years old. It develops speech, imagination, coordination of movements, and vocal range well.

Older children, more often in kindergartens, play CONE theater. You can buy it in the store - it's an album in which all the parts are cut out and glued together. Every single detail is a geometric figure: the body and arms are cones, the head is a circle, the ears are triangles, etc. They can be decorated. The dolls turn out to be voluminous. Or you can come up with and make such figures yourself. Here the child has many opportunities - to make a toy himself, to translate his fantasies and creativity into staging mini performances - fairy tales, nursery rhymes, songs. Bulk toys made of paper require caution; more often than not, this is a game for only one plot.

The greatest opportunities for play and dramatization are provided by GLOVE dolls or “BI-BA-BO” dolls. This is a real theater that can be staged at home. These dolls are made from a hard head and a cloth suit that has no legs but two arms. The child puts his head on his index finger, and his middle and thumb in his hands; the body of the doll is the artist’s hand.

“Bi-Ba-Boshek” is characterized by various movements and gestures. In the hands of actors, they can laugh and cry, sing and dance, and take various poses. In general, they can express everything that a child experiences while playing with this doll. He perceives the doll as a person and worries about it. He identifies himself with the doll.
So in the play “The Three Little Pigs”, the Kid will worry about each brother. He may be the only actor-puppeteer, speak in different voices, different intonations - both for the wolf and for the piglets, but still, he will worry about each piglet.
Such glove theaters can be bought as a set in the store, “Puppet theater - Little Red Riding Hood, Three Bears, Little Goats and the Wolf, Ryaba Hen, Wolf and Fox.” Or you can make “Bi-Ba-Boshek” yourself from scrap materials.

Children love to play with marionette dolls - dolls that an actor controls by pulling strings. The head, arms, legs are attached with loops and suspended on a thread to a wooden base, which controls the movements of the dolls. They are especially necessary for hyperactive children. The kids themselves don’t notice how they gradually control their movements, act carefully and voluntarily.

Children of preschool and younger age take the game of dramatization very seriously. First, there is a selection of a fairy tale (the plot of the game), then a discussion of it, a retelling, then the roles are distributed, the playing space is arranged and the children actually play.
To play a role, an attribute is required - a sign of the character that is most typical for him. If your child doesn’t have a real costume, don’t despair. Let the children themselves say which feature is most typical for this character. Based on this, you can make this attribute yourself. For example, an animal mask cut out of paper, an apron, a cap, a wreath, a kokoshnik, etc. We need to convince children that the most important thing is the image that they must perform with the help of gestures, movements, intonation, and facial expressions. Also, you should not demand precision performance from children; experience will come gradually.

To dramatize means to act out a literary work, while maintaining the sequence of episodes in it and conveying the personalities of its characters. They require children to have skills, abilities, and competence in literature, theatrical, visual and musical activities. A literary work tells a child actor what actions to perform, but there are no instructions about their methods of implementation: movements, intonation, facial expressions.

Dramatization play will be possible if the child perceives, comprehends and experiences while reading a literary work; and also already knows about the theater, about the performances that are performed there; willingly joins the game, taking into account his capabilities and abilities.

Based on the individual abilities of children, dramatization games are divided into:
Child “DIRECTOR”- this child is an erudite. He has a good imagination and memory. He quickly “grabs” a literary text and immediately translates it into a staged performance. He is purposeful, has organizational skills: distributes roles, text, directs the game, its further development, determines the place where the performance will take place, and brings the game to the end. He can combine: include poetry, songs, dances, improvisation in the course of the performance.
Child - "ACTOR"- He is sociable, easily joins group games, can convey the image of the hero well, improvises easily, can quickly find the necessary attributes so that the image is more accurate, is very emotional, follows the plot exactly and plays his role to the end.
Child - "spectator"- He seems to be participating in the game from the sidelines. This child is attentive, observant, empathizes with the acting, loves to analyze and discuss the acting, how the storyline unfolds, conveys his impressions through words, drawings, and games.
A child is a “DECORATOR” - he has the ability to convey the image of the characters and the work as a whole, through the creation of scenery, props, and costumes. He has a good sense of color and shape.

Dramatization games can be varied in content, form and objectives.
These can be games - round dances, accompanied by singing. For example, a Russian folk song: “There was a birch tree standing in the field” - children in costumes of “birch trees”, Russian girls (in kokoshniks or scarves, Russian colored sundresses), sing, dance, movements correspond to the words of the song.
These could be games - dramatizations of poems; tabletop theater; puppet show; creative games; prose.

In all dramatization games there is an atmosphere of goodwill, mutual understanding and openness, and self-realization. Children's knowledge about the world around them expands. The child learns to convey his emotional state in movements, facial expressions, gestures, and the ability to empathize. He learns to understand the peculiarities of animal behavior, tries to reproduce them, and learns onomatopoeia.

Children develop imagination, speech, and coordination of movements. These games promote organization, intelligence, develop a sense of teamwork, and build relationships and understanding between peers and adults. All this affects the future life potential of the child.

Dramatization - staging, role-playing literary works, while maintaining the sequence of episodes. A dramatization game is a game that is based on the plot scheme of a literary work or fairy tale.

The pages of this thematic section contain ready-made plans and scenarios for such events, useful tips for organizing them, and reports on their implementation, illustrated with photographs. It makes sense to stage fairy tales with children regularly. To make this play activity varied, refer to the positive experience of colleagues in the field of dramatization.

Here is everything for the successful operation of a “children's drama theater.”

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All sections | Dramatization. Summary of games with dramatization elements

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Dramatization. Summary of games with elements of dramatization - Dramatization of a fairy tale using scarf dolls for preschool children “Teremok in a new way”

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Dramatization. Summary of games with elements of dramatization - Dramatization of the fairy tale “The Wolf and the Seven Little Goats”

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