Material (senior group) on the topic: Modern education "theory and practice" The use of ICT in the development of theatrical activities of senior preschool age. The use of information and communication technologies at various stages of work on the spec

Elena Shevchenko
Consultation "The Role of ICT in Theater Activities"

Information and communication technologies (ICT)- a set of technologies,

ensuring the fixation of information, its processing and information exchanges (transmission, distribution, disclosure).

ICTs include computers, software and electronic communications.

Unlike conventional technical training aids, information and communication

technologies allow not only to saturate the child with a large number of ready-made, strictly selected,

appropriately organized knowledge, but also to develop intellectual, creative

abilities, and what is very important in preschool childhood - the ability to independently acquire new

The ability of a computer to reproduce information simultaneously in the form of text, graphic

image, sound, speech, video, memorize and process data at high speed allows

specialists to create new products for children activities which are fundamentally different from

all existing games and toys. All this makes qualitatively new requirements for

preschool education - the first link of continuous education, one of the main tasks of which

- to lay the potential for the enriched development of the child's personality.

Therefore, it is necessary to introduce informational information into the system of preschool education and training.

technologies.

The specific features of information technology can make it possible to evaluate them role in

development of creative abilities of children c. Firstly,

information technology will supplement the content and methods of work on theatrical

activities, will increase the possibility of enriching and systematizing the sensory experience of pupils.

Especially in those cases when in a real situation this perception is impossible or difficult. TO

for example, a demonstration of the play of actors, expressive techniques for conveying the characteristics of a role.

Secondly, the level of clarity is significantly higher than in manuals with a printed base. And

visualization of a higher level, since it is realized with the help of animation, sound

accompaniment, video fragments.

Information technology performs a number of didactic functions: educational,

developing, educational. The educational function is focused on the formation of knowledge,

skills and abilities.

As a result of the teacher's work with the use of information technology,

developmental effect of learning: formation of qualitative characteristics of perception in children,

imagination, attention, memory and thinking.

One of the obvious benefits of using ICTs is the increased visibility that

contributes to the education of the artistic taste of children, the improvement of their emotional sphere.

Using information technology in theatrical activities, I guess

implementation of the following goals: firstly, providing substantive and technological support

basic teaching aids. Secondly, the formation of a common culture, erudition of elders

preschoolers. Third, the development and deepening of pupils' interest in theatrical

activities.

Theatrical activities using presentation material, multimedia

benefits, takes on a new color, is more emotional, expressive, which ultimately and

helps to increase the level of development of creative abilities of children.

A huge role in the organization of theatrical activities plays expressive reading

fairy tales. It should be emphasized that the fuller and more emotional the perception of works, the higher the level

theatrical activities... This can be greatly helped by information and

communication technology: for example, listening to a fairy tale read by a professional

literary work or fairy tale, but also with gesture, facial expressions, movement, costume, mise-en-scène

etc., that is, with "signs" playing role expressive language. Here again they can help

come information and communication technology.

· Watching puppet shows and talking about them;

· Games-dramatization;

· Exercises for the social and emotional development of children;

Diction exercises (articulatory gymnastics);

· Exercises for the development of children's plastic;

Finger play training for the development of hand motor skills necessary for free

puppetry;

· Exercises for the development of expressive facial expressions, elements of the art of pantomime;

· theatrical sketches;

· preparation (rehearsals) and acting out a variety of fairy tales and dramatizations;

On this basis, a promising plan was developed for working with children of the older group in the circle.

"Visiting a fairy tale" for the 2010-2011 academic year (Appendix # 1).

This planning provides:

1. An integrated approach to the organization of the general educational process;

2. High level of development theatrical knowledge and skills;

3. Creation of conditions for the development of creative manifestations of children;

4. Optimal load on the child in order to protect him from overwork.

The system of work to develop the creative abilities of children in dramatized activities with

ICT application was built in accordance with the following principles:

1. The principle of psychological comfort - creating conditions in which children feel

"like at home", removal of stress-forming factors, orientation of children to success, and most importantly, the feeling

joy, getting pleasure from the very activities.

2. The principle of creativity (creativity)- maximum focus on creativity,

the acquisition by children of their own experience of creative activities.

3. The principle of a holistic view of the world - the formation of a scientific picture of the world, personal

the child's attitude to the knowledge gained, the ability to apply them in their practical activities.

4. The principle of variability - understanding the possibility of different options for solving the problem.

5. The principle of minimax - taking into account the individual abilities of children and providing them

moving forward at your own pace. Long-term planning includes work on

the formation of emotional expressive speech of children, the development of facial expressions, gestures.

Practical part

The pedagogical experience I have described is to create conditions for the development of the creative abilities of children in theatrical activities using modern information and communication technologies.

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Competition material of the participant of the conference "Modern education:" theory and practice "

The use of information and communication technology in the development of theatrical activities in older preschool children.

Teacher: Voronina Valentina Filippovna, teacher of the MADOU "Kindergarten No. 20" Cinderella "KhMAO-UGRA, Nefteyugansk.

Relevance The transformations taking place in society give rise to new requirements in education for preparing children for school. One of them is the development of creative abilities in older preschool children.

Creativity is one of the components of the overall personality structure. Their development contributes to the development of the child's personality as a whole. Based on the analysis of the works of domestic and foreign psychologists who reveal the properties and qualities of a creative personality, general criteria for creative abilities were identified: readiness for improvisation, justified expressiveness, novelty, originality, ease of association, independence of opinions and assessments, special sensitivity. Theatrical activity is a unique means of developing the creative abilities of children. Solving problems aimed at developing creative abilities requires the definition of a different technology for using theatrical techniques.Currently, more and more preschool teachers use information and communication technologies in their work with preschoolers in various sections of the program.

The pedagogical experience I have described is to create conditions for the development of the creative abilities of children in theatrical activities using modern information and communication technologies.The purpose of my work- to include pupils in theatrical activities with the possibilities of using ICT, which will contribute to the development of their creative abilitiesSubject of study- ICT as a means of developing the creative abilities of older preschool children in theatrical activities. Hypothesis - if ICT is used to develop creative abilities in theatrical activities, then the formation of these abilities will occur faster and more efficiently.To solve this goal, the following tasks were formed:1. To develop creativity in theatrical activities using ICT. 2. Consistently acquaint children with the types of theaters using ICT tools. 3. Encourage improvisation using means of expression available to each child (facial expressions, gestures, movements, etc.). With the help of ICT, help in the creation of expressive means. 4. Development of children's ability to perceive an artistic image. 5. To develop plastic expressiveness, facial expressions, gestures. 6. Arouse the desire to pronounce small monologues and detailed dialogues (in accordance with the plot of the performance). 7. To foster a culture of behavior in the theater, respect for the performing arts, benevolence and contact in relationships with peers. Life in the era of scientific and technological progress is becoming more diverse and complex. And it requires from a person "not routine, habitual actions, but mobility, flexibility of thinking, quick orientation and adaptation to new conditions, a creative approach to solving large and small problems." If we take into account the fact that the share of mental labor in almost all professions is constantly growing, and an increasing part of performing activity is shifted to machines, it becomes obvious that a person's creative abilities should be recognized as the most essential part of his intellect and the task of their development is one of the most important tasks. in the education of a modern person. After all, all the cultural values ​​accumulated by mankind are the result of the creative activity of people. And the extent to which human society advances in the future will be determined by the creative potential of the younger generation.Since today there is a social order for a creative person, in my teaching activities I pay great attention to this problem. Creative potentials are inherent and exist in every person. Under favorable conditions, every child can prove himself. In order for children to begin to creatively apply the previously acquired knowledge, it is necessary that they feel the need for the proposed activity. Motivation for action must be organized. Creative abilities are not only manifested in activity, but also formed in it. One of the most effective types of activity that creates conditions for the development of the creative abilities of preschool children is theatrical activity. This type of activity requires from children: attention, ingenuity, quick reaction, organization, the ability to act, obeying a certain image, transforming into it, living its life.

Development of creative abilities of older preschool children in theatrical activitiesDramatization or theatrical performance is the most frequent and widespread type of children's creativity. V.G. Petrova notes that theatrical activity is a form of getting rid of the impressions of life, lies deep in the nature of children and finds its expression spontaneously, regardless of the wishes of adults. The greatest value of children's theatrical activity lies in the fact that dramatization is directly related to play (L.S.Vygotsky, N.Ya. Mikhailenko), therefore it is the most syncretic, i.e. contains elements of various types of creativity. Children themselves compose, improvise roles, stage some ready-made literary material. In theatrical activities, actions are not given ready-made. A literary work only suggests these actions, but they still need to be recreated with the help of movements, gestures, facial expressions. The child himself chooses expressive means, adopts them from the elders. The large and varied influence of theatrical activities on the personality of the child allows them to be used as a strong, but unobtrusive pedagogical tool, since the child himself experiences pleasure and joy. The educational possibilities of theatrical activities are enhanced by the fact that their themes are practically unlimited. She can meet the versatile interests of children. It is the theatrical activity that is a unique means of developing the creative abilities of children.Solving problems aimed at developing creative abilities requires the definition of a different technology, the use of theatrical techniques and their combinations in a holistic pedagogical process.At the same time, in practice, we observe that the developing potential of theatrical activity is not used sufficiently. How can this be explained? 1. The introduction to the theater is not of a mass character, which means that some of the children remain outside this type of activity. 2. Misunderstanding of the importance of theatrical activities for the development of the child. 3. Preschoolers have no experience of perception of theatrical art. There is a lack of system and superficial familiarization with the theater in kindergarten and in the family, which forms in children an idea of ​​an accessible perception of the stage design of works without special knowledge. 4. Theatrical games are mainly used as a "show" during the holidays. The child is taught to be a "good artist", to memorize the text, intonation, movement. However, mastered in this wayskills do not carry over into free play activities. 5. Non-interference of an adult in the dramatized game. Children are left to themselves, the teacher prepares attributes for the theater. The same set of hats - masks, elements of the heroes' costumes are transferred from group to group. Younger preschoolers are attracted by this because of the opportunity to change clothes, and the older preschooler does not satisfy, because it does not correspond to his cognitive interests, the level of development of mental processes, the possibilities of self-realization in creative activity. The consequence is the complete absence of theatricalization in the play experience of children 5-7 years old if they have an interest in this activity and the need for it. At the same time, preschoolers often do not have a readiness for independent theatrical activity. Only a few kindergarten graduates have a sufficient level of understanding of the theater and playing skills, which allows them to organize independent theatrical activities. A contradiction arises: on the one hand, the recognition of art historyand pedagogical science the importance of theater in the emotional and creative development of the child. On the other hand, there is a lack of theatrical art in the lives of children. I suggested that overcoming this contradiction is possible with the use of information and communication technologies, which are primarily modern visual teaching aids, and the richest opportunities for providing information on a computer allow you to change and enrich the content of education.

The role of information and communication technologies in the development of children's creative abilities in theatrical activitiesInformation and communication technologies (ICT) - a set of technologies that ensure the fixation of information, its processing and information exchanges (transmission, distribution, disclosure).Information communication technology includescomputers, software and electronic communications. Unlike conventional technical teaching aids, information and communication technologies make it possible not only to saturate the child with a large number of ready-made, strictly selected, appropriately organized knowledge, but also to develop intellectual, creative abilities, and, which is very important in preschool childhood, the ability to independently acquire new knowledge.

Computer abilityto reproduce information simultaneously in the form of text, graphics, sound, speech, video, to memorize and process data at high speed allows specialists to create new means of activity for children that are fundamentally different from all existing games and toys. All this makes qualitatively new requirements for preschool education - the first link of lifelong education, one of the main tasks of which is to lay the potential for enriched development of the child's personality. Therefore, it is necessary to introduce information technologies into the system of preschool education and training.

The specific features of information technologies can make it possible to assess their role in the development of the creative abilities of children in theatrical activities. - Firstly, information technologies will allow to supplement the content and methods of work on theatrical activities, increase the possibility of enriching and systematizing the sensory experience of pupils. Especially in those cases when in a real situation this perception is impossible or difficult. For example, a demonstration of actors' play, expressive techniques for conveying the characteristics of a role. - Secondly, the level of clarity is much higher than in textbooks with a printed basis. Moreover, the clarity is of a higher level, since it is realized with the help of animation, soundtrack, video fragments. Information technologies perform a number of didactic functions: educational, developmental, educational. The educational function is focused on the formation of knowledge, skills and abilities. - As a result of the teacher's work with the use of information technology, the developmental effect of learning is enhanced: the formation of qualitative characteristics of perception, imagination, attention, memory and thinking in children. - One of the obvious advantages of using ICT is to enhance visibility, which contributes to the education of the artistic taste of children, the improvement of their emotional sphere.Using information technology in theatrical activities, I assume the implementation of the following goals: 1.Providing substantial and technological support to the main means of education; 2. Formation of general culture, erudition of older preschoolers; 3. Development and deepening of pupils' interest intheatrical activities. Theatrical activity with the use of presentation material, multimedia aids, takes on a new color, is more emotional, expressive, which ultimately contributes to an increase in the level of development of children's creative abilities. The expressive reading of a fairy tale plays a huge role in the organization of theatrical activities. It should be emphasized that the fuller and more emotional the perception of works, the higher the level of theatrical activity. Information and communication technologies can greatly help in this: for example, listening to a fairy tale read by a professional announcer. The content of classes in theatrical activity is not only acquaintance with the text of a literary work or fairy tale, but also with gesture, facial expressions, movement, costume, mise-en-scène, etc., that is, with "signs" that play the role of expressivelanguage. Here again, information and communication technologies can come to the rescue. In the content of theatrical activities using information and communication technology I include: watching puppet shows and talking about them. games are dramatizations. exercises for the social and emotional development of children. diction exercises (articulatory gymnastics). exercises for the development of children's plastic. finger play training for the development of hand motor skills necessary for free puppetry. exercises for the development of expressive facial expressions, elements of the art of pantomime. theatrical sketches. preparation (rehearsals) and performance of a variety of fairy tales and performances.

On this basis, a long-term plan of work with children of the older group in the "Petrushka Theater" circle for the 2013-2014 academic year was developed. (Appendix # 1).This planning provides:1. An integrated approach to the organization of the general educational process; 2. High level of development of theatrical knowledge and skills; 3. Creation of conditions for the development of creative manifestations of children; 4. Optimal load on the child in order to protect him from overwork.The system of work to develop the creative abilities of children in theatrical activities using ICT was built in accordance with the following principles: 1. The principle of psychological comfort - creating conditions in which children feel "at home", removing stress-forming factors, focusing children on success, and most importantly, a sense of joy, enjoyment of the activity itself. 2. The principle of creativity (creativity) - the maximum orientation towards creativity, the acquisition by children of their own experience of creative activity. 3. The principle of a holistic view of the world - the formation of a scientific picture of the world, the child's personal attitude to the knowledge gained, the ability to apply them in their practical activities. 4. The principle of variability - understanding the possibility of different options for solving the problem. 5. The principle of minimax - taking into account the individual abilities of children and ensuring that they move forward at their own pace. Long-term planning includes work on the formation of emotional expressive speech of children, the development of facial expressions, gestures.

Practical part

The implementation of long-term planning for the development of the creative abilities of children in theatrical activities using ICT was carried out in the work of the Petrushka Theater circle. It provides for the systematic purposeful development of the creative abilities of children in theatricalization with the use of ICT. The experimental work took place in the senior preschool group, in which there are 18 payroll children. The group has a corner for theatrical activities, which contains costumes, screens, attributes for performances, various types of theaters, not only factory-made, but also made by the students themselves. The observation took place during the 2013-2014 academic year.

Experiment

Target : to identify the initial level of development of creative abilities in theatrical activities.Research methods at this stage: 1. Conversation with children; 2. Observation and analysis of theatrical activities; 3. Diagnostics "Psychomotor development of a child" according to the method of A. Burenina and criteria for assessing the results of theatrical and play activities, developed by N.F. Sorokina ( Appendix No. 2); 4. Description and analysis of the results of the ascertaining stage.: Children like to play role-playing games, the teacher often suggests the idea of ​​the game, the children discuss the development of the plot more actively with the teacher, the teacher brings various storylines into the game. There are children who do not actively participate in games. In their free time, children play around with various Russian folk tales, but only under the guidance of educators.Based on the results of diagnostics"Psychomotor development of a child" according to the method of A. Burenina and the criteria for assessing the results of theatrical and play activities, developed by N.F. Sorokina made the following conclusions: high level - 8% of children; the average level is 72% of children; low level - 20% of children. After the research, the group was divided into two subgroups, a control group and an experimental group of nine people each, according to the level of development of theatrical and playful activity, the subgroups were formed evenly.

Formative experiment

Target : involves teaching children on the basis of the developed original methodology, which differs from traditional approaches, and its approbation in order to identify its effectiveness. The work was carried out with the children of the experimental group for 25-30 minutes using ICT, the same work, but without the use of ICT, was carried out with the children of the control group. Individual work and rehearsals were carried out a week or two before the performance. In the classroom, they talked about the theater, about how it came into being. (In the experimental group, multimedia presentations were used for clarity.). During the class, the children came up with different stories, learned to come out from behind the curtain and start speaking with expression. A special role was given to the development of facial expressions and gestures in children. The games "Grandpa is silent", "Imagine that we are bunnies, bears and other animals", "Games with imaginary objects" were held.With the experimental group, a screen was used to illustrate some of the games (to show opposite emotions, various gestures) During the lessons, the reading of fiction was used, as an educator, for the experimental group, also in the recording of professional announcers. Together with the children, they composed stories, played educational games "Theatrical alphabet", dramatization games: "In a forest glade", "In a swamp", played mini-sketches, pantomimes, held contests, presentations). The educational games “Mirror”, “Know by the nose”, “Shadow”, “Continue the phrase and repeat”, “Funny riddles”, etc. were often held.(In the experimental group, the games were accompanied by a change of pictures on the screen),which develop in children memory, auditory attention, movement coordination, imagination and fantasy. Appliedexercises and sketches: "Wandering circus", "Transformation of children" into insects, into animals. They played sketches on the main emotions "sadness", "joy", "anger", "surprise", "fear".The experimental group used a screen... If the named emotion was displayed correctly, then a fairytale hero appeared on the screen, depicting this emotion. A large role was given to the work on the performance itself. First, they chose fairy tales with the children that they would like to stage. The roles were assigned at the request of the children. (In the experimental group, she showed performances on the screen, then discussed with the children the expressive means that the actors used to convey the characteristics of a particular role). From simple Russian folk tales "Turnip", "Teremok" there was a transformation into a new, more interesting fairy tale. Children happily memorized their, sometimes even great, roles in poetry. Then the work went on separate episodes with the text. (If necessary, in the experimental group, they watched individual episodes of the performance on the screen to clarify the features of a particular role). Then we picked up the accompaniment with the musical director. The final stage in the preparation of the performance was a re-showing and a dress rehearsal. Together with their parents, they made costumes and scenery for the performances.

Control experiment

Target : to identify the final level of development of creative abilities in theatrical activities. At this stage, the same diagnostic techniques are used as in the ascertaining experiment to compare the results of the examination of the subjects. Based on a comparison of the data of the ascertaining and control experiments, one can judge the effectiveness of the methods used.In the process of observation and conversations with children, it was revealed: Children began to play role-playing games more often, to come up with the idea of ​​the game on their own. The development of the plot began to be discussed among themselves.In the control groupthe educator still introduced various storylines into the game more often.In the experimental groupchildren began to invent various storylines on their own, while attracting children into the game who did not seek to participate in role-playing games before. In their free time, children began to independently play various fairy tales, stories, children of the experimental group, and also began to play fairy tales that they had invented on their own.Based on the results of diagnostics"Psychomotor development of a child" according to the method of A. Burenina and criteria for evaluating the results of theatrical and playfulactivities developed by N.F. Sorokina made the following conclusions:Control group:high level - 38% of children; the average level is 61% of children; low level - 1% of children.Experimental group: high level - 52% of children; the average level is 48% of children; low level - 0% of children. conclusions

In the course of our practical research, we found the following: 1. Analysis of the results of the group before and after the formative experiment clearly indicates the effectiveness of the work carried out to develop the creative abilities of children. 2. Specially used ICT tools, identified in the work on theatrical activities, give a tangible positive result. 3. The development of creative abilities is a process that permeates the entire development of a child's personality. All the children in the study group underwent significant personal changes. Children have become more active, proactive in games, capable of making independent decisions. I gained a lot of confidence in myself, in my capabilities. To a certain extent, the guys have developed a habit of free self-expression. A positive attitude towards theatrical games is being formed. There is a gradual transition of the child from playing according to one literary or folklore text to the child's free construction of a plot, in which the literary basis is combined with its free interpretation by the child or several works are combined. The children acquired the ability to express their understanding of the plot of the game and the character of the character (in movement, speech, facial expressions, pantomime). There was a desire to come up with a fairy tale, history, compose a dance.The results of the conducted formative experiment demonstrated the significant role of using ICT in theatrical activities for the development of children's creative abilities. The experimental group improved their results on all points of the study.

Conclusion

The work carried out to develop the creative abilities of older preschool children in theatrical activities can be activated by means of information and communication technologies. Life in the era of scientific and technological progress is becoming more and more diverse and complex. And it requires from a person not routine, habitual actions, but mobility, flexibility of thinking, quick orientation and adaptation to new conditions, a creative approach to solving large and small problems. A person's creative abilities should be recognized as the most essential part of his intellect and the task of their development is one of the most important tasks in the education of a modern person. After all, all the cultural values ​​accumulated by humanity are the result of the creative activity of people. And the extent to which human society advances in the future will be determined by the creative potential of the younger generation. Creativity is not a new subject of research. The problem of human abilities has aroused great interest of people at all times. It is very important that in a world full of information, new technologies, the child does not lose the ability to learn the world with his mind and heart, expressing his attitude to good and evil, he can learn the joy associated with overcoming the difficulties of communication, self-doubt. The development of creative abilities in the context of theatrical activity contributes to the general psychological development, the possibilities of moral and aesthetic influence on children by teachers. Theatrical activity allows a complex influence on children in the verbal and non-verbal terms, effectively solves the problems of moral and aesthetic education, enriches the emotional sphere, activates speech activity. It is important to be able to interest the child, therefore, along with traditional methods, it is advisable to use in the work on theatrical activities and new ICT tools that attract the attention of children, make them want to engage in this activity not only during organized classes, but also in everyday activities.The use of information technology for the development of the creative abilities of children in theatrical activities: Facilitates the understanding and perception of the material by children. It makes it possible to present new material more visually and emotionally, to consolidate what has already been passed. Reduces the time it takes to explain new material. Develops the activity and independence of children. The work organized in this way contributes to the fact that theatrical play becomes a means of self-expression and self-realization of the child in various types of creativity, self-affirmation in a group of peers. Summing up the work done, we can say that the problem is not limited to this. The prospect of further work for me is the development of new options for using ICT in theatrical activities with older preschool children.

References: 1. Akulova O. Theatrical games // Preschool education, 2005.-№4. 2. Antipina E.A. Theatrical activity in kindergarten.-M., 2003. 3. Burenina A.I. Theater of all kinds. Saint Petersburg,. 2002. 4. Doronova T.N. Development of children from 4 to 7 years old in theatrical activities // Child in kindergarten. - 2001. - No. 2. 5. Zimina I. Theater and theatrical games in kindergarten // Preschool education, 2005.-№4. 6. Makhaneva M. Theatrical activity of preschoolers // Preschool education - 1999.- №11. 7. Makhaneva M.D. Theatrical classes in kindergarten.-M .: Sphere, 2001. 8. Nemenova T. Development of creative manifestations of children in the process of theatrical games // Preschool education. - 1989. - No. 1. 9. Petrova T.I. Theatrical games in kindergarten. - M., 2000. 10. Churilova E.G. Methodology and organization of theatrical activities of preschoolers and primary schoolchildren. - M .: Vlados, 2001. Applications: 1. Prospective work plan of the theatrical circle "Theater of Petrushka" "in the senior group for the 2013-2014 academic year 2. Diagnostics of the development of children's creative abilities in theatrical activities 3. Card file of games 4. Card file of pantomime games 5. Card file of sketches 6. Card file mini sketches 7. Quiz on theatrical activities 8. Summary of the open lesson "On a visit to the dolls" 10. Summary of entertainment: "A big, big turnip has grown."

Prospective work plan of the theatrical circle "Theater of Petrushka" "in the senior group for the 2013-2014 academic year Appendix 1.

October

November

December

January

February

March

April

May

Appendix 2

Diagnostics "Psychomotor development of a child" according to the method of A. Burenina and criteria for assessing the results of theatrical and play activities, developed by N.F. Sorokina (conducted in the senior group in the 2013–2014 academic year).

1. Intonational expressiveness of speech.

2. Emotionality. 3. Characterological characteristics of children (sociability, stiffness).

4. Creative manifestations.

5. Attention.

6. Memory.

7. Actions with puppet characters. 8. Coordination and dexterity of movements.

9. The use of expressive means (facial expressions, gestures

Characteristics of the levels of development of creative abilities of children

HIGH LEVEL: Creative activity of the child, his independence, initiative. Rapid comprehension of the task, its precise expressive performance without the help of adults. Pronounced emotionality (in all types of theatrical activities). (1 point)

INTERMEDIATE LEVEL: Emotional responsiveness, interest, desire to get involved in theatrical activities. But the child finds it difficult to independently complete the task. An adult's help is required, additional explanations, demonstration, repetition. (2 points)

LOW LEVEL: Slightly emotional, inactive, indifferent. Calmly, without interest, refers to this type of activity. Not capable of independence. (3 points)

Graduation of levels for diagnosing the creative abilities of children according to the average score

Low level 3 - 2.7 points

Average level 2.6 - 1.8 points

High level 1.7 - 1 points

Appendix 3

Games card file

Game "Whose Voice" Purpose.Develop attention, observation, imagination of children. Children greet each other on behalf of any fairy-tale character they have invented (fox, hare, wolf), put on (optional) costumes and tell who they have become like. The teacher helps them to portray the selected characters through expressive movements, facial expressions, voice. characteristic features of animals or objects and convey them expressively.Game "Imaginary Journey" Purpose... Develop imagination, fantasy, memory of children; the ability to communicate in the proposed circumstances. Educator. Now we will go on a journey. I will describe the place where we will find ourselves, and you have to imagine, see it in your mind and do what your imagination tells you. So, take imaginary backpacks from the chairs, put them on, go out into the middle of the room. Before you is a glade full of wildflowers and berries. Tear flowers for bouquets. Pick berries. But first, determine for yourself what kind of flower or berry it is, because I can ask you: "What is this?" Please note that all the berries grow in the grass, which means that they cannot be seen right away - the grass must be carefully pushed apart with your hands. Now we go further along the road to the forest. A stream flows here, through which the board is thrown. Walk the plank. We entered the forest, where there are a lot of mushrooms and berries - take a look around. Now we will rest and have a snack. Get the breakfasts your mother gave you for the trip from your backpacks and grab a snack. And I will guess what you are "eating."Game "Grandpa Silence" Purpose... To develop expressiveness of gestures, facial expressions, voice. Children sit in a creative semicircle. The game "Grandfather Silence" is being held. Educator. Today Grandpa Silence will come to visit us. When he appears, it becomes quiet. Grandpa is very kind, he loves children and knows many interesting games. Chiki-chiki-chiki-chok, Hello, Grandpa Silence! Where are you? We want to play, Learn a lot. Where are you, good old man? Silence ... Silence came. Don't scare him off look, Shhhh, don't say anything. The teacher asks the children very quietly, on tiptoe, to look for their grandfather, gesturing for silence. Then the teacher “finds” the grandfather (puts on a beard and a hat) and acts on his behalf: he greets him, says that he was in a hurry to see the children because he loves to play. Invites children to play the game "Find out who is speaking by another name." With the help of a rhyme, the driver is selected. The teacher reads the text on behalf of the grandfather. The child indicated by Silence answers the question by changing his voice. The driver guesses which of the children speaks on a different name. A cuckoo sits on a bitch, And the answer is heard ... "Ku-ku", - answers the child, to whom the grandfather Silence is pointing. And here is the kitten in the corner, he meows like that. (Meow! Meow!) The puppy bellows back, Let's hear what we follow ... (Woof! Woof!) The cow will not be silent either, And after us it will loudly hum. (Moo!) And the cockerel, meeting the dawn, Will sing to Us ... (Ku-ka-re-ku!) The steam locomotive, picking up speed, Also sings merrily ... (Ooh!) If there is a holiday, kids Cheerfully shouts ... (Hurray! Hurray!)Game "Shadow" Purpose... Teach children to coordinate their actions with other children. Children are divided into pairs. One child in a pair. This is a man, he “walks through the forest”: picking mushrooms, berries, catching butterflies, etc. Another child, his shadow. By repeating the movements of a person, the shadow should act in the same rhythm and express the same feeling. The teacher explains to the children the meanings of the words "tempo" and "rhythm." “Pace is speed: fast, slow, very slow. Rhythm is a uniform repetition of certain sounds: one-two, tuk-tuk. " Then the conditions of the game change. One child in a pair is a mouse, a frog, a bunny, a bear, a fox, a cockerel, a hedgehog (at the teacher's choice), another child is his shadow. During the game, children change roles, and the teacher prompts them, shows them! gait of animals.Game "Find out who it is" Purpose... Develop attention, observation. The driver leaves behind the curtain. The participants of the game take turns, slightly opening the curtain, show him an arm, a leg, hair, a nose, etc. If the driver recognizes a friend immediately, he gets a fant. The game is repeated several times, the drivers change.Game "Mirror" Purpose... Teach children to recognize emotional states (joy, sadness, anger, fear) by facial expressions. Educator. Imagine that you are preparing for a performance and putting on your makeup in front of a mirror. What is makeup? This is face tinting, the art of giving the face (with the help of special paints, sticking on a mustache, beard, etc.) the appearance that an actor needs for a given role. Stand in pairs facing each other. One of you is an artist, and the other is a mirror. The Mirror closely follows the artist's movements and repeats them in a mirror image. Try to predict any gesture, any facial expressions. What can an artist do? He can: put on a wig, a mask, style his hair, put a tone on his face, draw his eyebrows, paint his eyelashes and lips, smile, laugh, cry, be sad, etc. etc. Movements should be smooth and unhurried. Don't laugh at this! When are you in a happy mood? What moods do you know?Game "Broken Phone" Purpose... Teach children to recognize emotional states (joy, sadness, anger, fear) by facial expressions. All participants in the game, except for the driver and one of the guys, close their eyes, "asleep". The driver shows the child who has not closed his eyes any emotion. The child, "waking up" another participant in the game, conveys the seen emotion as he understood it, without words. The second participant passes his version of what he saw to the third player and so on until the last player. After the game, the teacher talks to the children about what emotions they portrayed; by what signs they recognized emotions.Game "My own director" Purpose... Give children the opportunity to independently compose a scene about animals. The teacher explains to the children: "A director is a leader, organizer of a performance or a performance, or a circus performance of artists." One child (optional) takes on the role of the director. He recruits artists, comes up with a scene, uses props, costumes. The rest of the guys, who are not involved in the scene, come up with their own scenes.Guess Who I Am Goal... Develop attention, observation, memory. The game is more fun when a lot of guys take part in it. With the help of a rhyme, the driver is selected. He is blindfolded. Children join hands and stand in a circle around the driver. The driver claps his hands, and the children move in a circle. The driver claps again and the circle freezes. Now the driver must point to a player and try to guess who he is. If he manages to do this on the first try, then the player guessed by him becomes the driver. If the driver did not guess who is in front of him on the first try, he has the right to touch this player and try to guess the second time. In the case of a correct guess, the child who has been identified becomes the driver. If the driver could not guess correctly, he drives in the second circle. A variant of the game. You can enter a rule according to which the driver can ask the player to say something, for example, to depict an animal: to bellow or meow. If the driver does not recognize the player, he drives again.Hot Potato Game Objective... To develop quickness of reaction, coordination of movements. Traditionally, the game uses real potatoes, but it can be replaced with a tennis ball or volleyball. Children sit in a circle, the driver is in the center. He throws a "potato" to one of the players and immediately closes his eyes. Children toss "potatoes" to each other, wanting to get rid of it as soon as possible (as if it were a real hot potato). Suddenly the presenter says: "Hot potatoes!" The player who has the "hot potato" in his hands is eliminated from the game. When there is only one child left in the circle, the game is over and that player is the winner.

Game "Observational? " Target ... Develop observation, memory. This game is loved by all children and willingly play it.They choose a driver who carefully examines the players: their clothes, shoes, who is sitting or standing where, remembers the players' poses. The driver leaves the room. The guys change places. They change positions, change shoes, exchange blouses, handbags, ribbons, handkerchiefs, scarves. The driver enters and looks for changes. The more changes he finds, the better, the more observant he is.Game "Imagine" Purpose... Develop imitation skills. Everyone needs the sun! Flowers, butterflies, ants, frogs. Who else needs the sun? (Children enumerate.) Now you will figure out who you will turn into, and to the music, depict this or that that you have in mind, and I will try to guess. Recording is turned on, children imitate the movements of the conceived character. These can be flowers, insects, animals, birds, trees, etc. The teacher guesses, clarifies. The sun disappeared behind a cloud, it started to rain. Rather under the umbrella!Game "Affectionate word" Purpose... To form in children a benevolent attitude towards each other. The teacher gathers children in a round dance with the words: In a round dance, in a round dance, the people have gathered here! One, two, three you start! Following this, the teacher puts on a cap, and we affectionately address the child standing next to him. For example: Sasha, good morning! The teacher specifies what kind and affectionate words we can pronounce when addressing our friends (Hello, how glad I am to see you; what a beautiful bow you have; you have a beautiful dress, etc.). After that, the children again go in a circle with a song. The teacher passes the cap to the next child, who should, in turn, tenderly address the baby standing next to him, etc.The game "Continue the phrase and show" Purpose... Develop logic, creativity; develop imitation skills. If it's cold outside, what do you wear? (Fur coat, hat, mittens ...) If you get a little kitten, what will you do? (Let's pet him, pet him). If you are alone in the forest, what will you do? (Loudly shout "Ay!") If mom is resting, how will you behave? (Walk on tiptoe, not make noise ...) If your friend is crying, what to do? (Comfort, stroke, look into the eyes ...). If you come across matches? (Answers of children, which the teacher summarizes with the conclusion: matches are not toys for children!)Game "Doctor Aibolit" (K. Chukovsky) Purpose... Develop logic, creativity; foster a benevolent attitude towards others; develop imitation skills, articulation apparatus Good doctor Aibolit! And a bug and a spider, He sits under a tree. And the bear! Come to him for treatment, He will heal everyone, both the cow and the she-wolf will heal, Good doctor Aibolit! The role of the doctor is assumed by the teacher. He is wearing a white robe, a hat, a pipe in his pocket. Children choose finger theater puppets and go up to Doctor Aibolit. The voice of the selected character is asked to treat the paw, nose, tummy ... During the game, the teacher (Aibolit) asks questions, encouraging children to actively and emotionally join the game. At the end, the children arrange a concert for Dr. Aibolit (game "Orchestra")Wandering circus game Goal... Develop imagination and the ability to improvise; encourage children to participate in theatrical play, encourage creative initiative; expand children's knowledge about the circus, enrich vocabulary; foster friendly partnerships. To rhythmic music (circus carcasses), the teacher reads a poem, the children walk in a circle and wave their hand in greeting: For the joy of the children, a wandering circus has arrived. In the singing and ringing, everything in it is like in the present: the gymnast flies, and the horse gallops, the fox jumps into the fire, The dogs learn to count, the ponies come out to roll them. The monkey hurries to the mirror, and the clown makes the audience laugh. The teacher announces the numbers: The first number of our program "Rope Walkers"! The teacher puts the tape on the floor. To the accompaniment of musical accompaniment, children, raising their hands to the sides, pass along the tape, imagining that it is a rope stretched in the air. The second number of our program "Famous Strongmen". Boys raise imaginary weights, barbells. The third number of our program "Learned Dogs" under the guidance of the famous trainer ... (The teacher says the name of the girl.) Children-dogs sit on their haunches, the trainer gives tasks: dance; solve puzzles using pictures; jump over the ring; sing. Intermission During the intermission, the “barmaid” distributes imaginary ice cream to all spectators and participants of the performance.Game "Guess whose voice" Goal... Teach children to pronounce the proposed phrase in an intonational and expressive manner. Children stand in a line. The driver stands with his back to them. The teacher silently points to any child, he says the phrase: "Skok-skok-skok-skok, guess whose voice!" If the driver guesses correctly, he stands in the general line. The driver becomes the one whose voice was guessed. The game is played several times. Children change the intonation and timbre of their voices.Playing with imaginary objects Objective... Develop imagination and fantasy; encourage children to participate in the general theatrical action.

1. The teacher, together with the children, pronounces the words of the familiar poem "My cheerful ringing ball", and everyone hits the floor with an imaginary ball. 2. The teacher throws an imaginary ball to each child, the child "catches" the ball and "throws" it back to the teacher. 3. Children stand in a circle and pass an imaginary object to each other. The teacher starts and comments on the game. Look, I have a big ball in my hands. Take it, Sasha (the teacher passes the "ball" to the child standing next to him). Oh, you got it small. Give it to Nastya. Nastya, in your hands a small ball has turned into a hedgehog. Its thorns are sharp, be careful not to prick or drop the hedgehog. Pass the hedgehog to Pete. Petya, your hedgehog has turned into a big balloon. Hold it tightly by the thread so that it doesn't fly away. Then you can improvise depending on the number of children (the ball turned into a hot pancake, the pancake into a ball of thread, the thread into a small kitten, you can gently stroke it, the kitten turned into a ruddy bun).Game "Me too!" Target... Improve attention, observation. The teacher says what he is doing, and the children, at a signal, loudly answer: “Me too!”: In the morning I get up ... (And I too!) I wash my face ... I brush my teeth ... I put on clean clothes ... I have breakfast. .. I go out into the street ... I sit in a muddy puddle ... ”Teacher. Who is this pig, who loves to lie in puddles? You can only feel sorry for his mom. Let's try again! I love to watch the play. (And neither do I!) I don’t talk in the hall ... I’m the tidiest ... I walk in the street ... I offend all the guys ... Teacher. Who is this brave offending the guys here? It's not good to offend guys! But I think that now no one will be wrong. I love funny music ... (Me too!) I dance with my friends ... (Me too!) Now show how you can dance. Music sounds. Children are dancing.Game "Povaryata" Purpose... To develop attention, observation, speed of reaction, memory. Children are divided into two teams (calculated on the first or second). The first team prepares the first dish, and the second one prepares the salad. Each child thinks out what product he will be for the first course: onions, carrots, beets, cabbage, parsley, pepper, salt, etc. For a salad: potatoes, cucumbers, onions, peas, eggs, mayonnaise, etc. Then all children stand in a circle and it turns out to be a "saucepan" and sing a song (improvisation): We can quickly cook borscht or soup, and a delicious porridge from several cereals, cut a salad and a simple vinaigrette, cook a compote here is a nice dinner. The children stop, and the leader (teacher) takes turns calling what he wants to put in the pot. The child who has recognized himself enters the circle. When all the "components" of the dish are in the circle, the host proposes to cook another dish.Game "What we do, we will not tell, but we will show you" Purpose... Promote the development of a sense of truth and belief in fiction; teach to act in concert on stage. The room is divided in half by a cord. On one side there are 6 children, chosen with the help of a counting machine, “grandfather and five grandchildren”. On the other hand, the rest of the children and the teacher; they will make riddles. Having agreed on what the riddle will be, the children go to the "grandfather" and "grandchildren". Children. Hello grandfather, gray-haired with a long, long beard! Grandfather. Hello grandchildren! Hello guys! Where have you been? What have you seen? Children. We visited the forest and saw a fox there. We will not tell you what we did, but we will show you! Children show a fictitious riddle. If the "grandfather" and "grandchildren" give the correct answer, the children return to their half and come up with a new riddle. If the answer is given incorrectly, the children name the correct answer and after the teacher's words: One, two, three - catch up! They run by the cord, to their own half of the room, and the "grandfather" and "grandchildren" are trying to catch up with them until the guys have crossed the line. After two riddles, new "grandfather" and "grandchildren" are chosen. In riddles, children show how they, for example, wash their hands, wash handkerchiefs, gnaw nuts, pick flowers, mushrooms or berries, play ball, sweep the floor with a broom, chop wood with an ax, etc. the subjects they are! showed in riddles.Birthday game Goal... Promote a sense of truth and belief in fiction. Learn to act in concert on stage. With the help of a counting room, a child is selected who invites the children to a “birthday”. Guests take turns and bring imaginary gifts. With the help of expressive movements, conditioned play actions, children must show what exactly they are giving. It is better if there are few guests, and the rest of the guys will first visit the role of spectators, assessing the reliability of the show. Then the children can switch roles. Gifts can be very diverse: a box of chocolates, chocolates, a scarf, a hat, a book, felt-tip pens and even a live kitten.Game "Guess what I'm doing?" Target... Develop memory, imagination of children. Children stand in a circle. Each child takes a certain position and justifies it. Stands with a raised hand (I put a book on the shelf, take out a candy from a vase in a cabinet, hang up a jacket, decorate a Christmas tree, etc.). Kneeling, arms and body directed forward (looking for a spoon under the table, watching the caterpillar, feeding the kitten, scrubbing the floor, etc.). Sits on his haunches (looking at a broken cup, drawing with chalk, etc.). I leaned forward (tying my shoelaces, raising a scarf, picking a flower, etc.). The teacher invites the children to repeat the game "Guess what I am doing?" in move. Children walk freely around the hall to the music. As soon as the music ends, the guys stop, take certain poses, then justify them (picking flowers, bent over for a mushroom, etc.). Possible options: sit in front of the TV; sit in a circus; sit in a doctor's office; sit at the chessboard; sit with a fishing rod on the bank of the river, etc. Group II is given the task to go. Possible options: follow the road.Game "Object transformation" Purpose... Develop imagination, fantasy of children. First, the teacher explains to the children: “In the theater, the audience believes in what the actor believes in. Stage attitude is the ability, with the help of faith, imagination and fantasy, to change their attitude to an object, place of action or partners, changing their behavior accordingly, justifying a conditional transformation. " The teacher takes an object and puts it on the table! or passes in a circle from one child to another. Each child must act with the object in his own way, justifying its new purpose, so that the essence of the transformation is understood. Options for transforming different objects: pencil or stick: wrench, screwdriver, fork, spoon, thermometer, toothbrush, paint brush, pipe, comb, etc .; small ball: apple, shell, snowball, potato, stone, hedgehog, gingerbread man, chicken, etc .; notebook: mirror, flashlight, soap, chocolate bar, shoe brush, game, etc. You can turn the chair into a stump; in this case, the children must justify the conventional name of the object. For example, a large chair can be turned into a royal throne, a memory of a nickname, etc.The game "Journey through the light" Purpose... Develop imagination, the ability to justify their behavior. Children in a creative semicircle. The teacher invites them to go on a trip around the world: “Guys, your task is to figure out where your path will go - through the desert, along a mountain path, through a swamp; through the forest, jungle, across the ocean on a ship. " Children propose a route around the world using the scenery of the ship, huts. So, the route around the world trip is drawn up, and the children begin to play. The game uses the music of the peoples of the world, sound effects - thunder, rain, storm noise, storm, costumes and masks.Game "King" Purpose... To be able to act with imaginary objects, for the memory of physical actions (a variant of the folk game). The performer of the role of the King is chosen with the help of a counting-rhyme: Our Masha got up early, counted all the dolls: two Matryoshka on the windows, two Arinkas on the feather bed, two Tanyushka on the pillow, and Petrushka in a cap on an oak chest. E. Blaginina. "Counting room". All children help to count; the teacher slowly, clearly pronounces the words of the counting rhyme so that the children can better remember them. The king sits on a "throne" with a crown on his head. Children are divided into several groups. Each group introduces their profession to the King by acting with imaginary objects (cooks, laundresses, seamstresses, etc.). The first group approaches the King. Workers. Hello King! King. Hello! Workers. Do you need workers? King. What can you do? Workers. Guess! The king must guess the professions of the workers. If he guessed correctly, then the children scatter, and he catches up with the fleeing children. The first child caught becomes King. In the course of the game, the teacher complicates the character of the King, he is either greedy, then evil. If the role of the King is played by a girl (Queen), then she can be kind, frivolous, grumpy, etc. The main thing in this game is action with imaginary objects.Birthday game Goal... The game teaches children to be benevolent, attentive and kind, to be able to act with imaginary objects. The teacher appoints the child to the role of the birthday boy. He will receive guests on his birthday. The guests take turns giving him imaginary gifts (doll, ball, construction set, etc.). The teacher should pay attention to the correct actions of children with imaginary objectsGame "Riddles without words" Purpose... Involve children in playing mini-sketches. The teacher calls the children: I will sit side by side on the bench, I will sit with you. I ask you riddles, Who is smarter - I'll see. The teacher, together with the first subgroup of children, sit down and consider illustrations for wordless riddles. Children choose pictures that they can think of without saying a word. The second subgroup at this time is located in another part of the hall. Children of the first subgroup depict without words, using facial expressions and gestures. For example: wind, sea, stream, kettle, if difficult, then: cat, barking dog, mouse, etc. etc. Children of the second subgroup guess. Then the second subgroup thinks, and the first one guesses.

Appendix 4. Card file of pantomime games

Game - pantomime "Duck" Purpose... Develop pantomimic skills, fine motor skills of hands; The teacher reads a poem: A variegated duck sat on a stone, The duck scared the gudgeon in the river: The duck hummed in a thick pipe. "Quack, quack, quack!" While reading, children stand with their hands behind their backs, waddling from side to side. The duck's line is spoken loudly by all together. The teacher gets up at a distance from the children and calls them, putting an imaginary bowl of food on the floor: - My ducklings, come to me, I will feed you. The teacher clarifies and shows: how ducks walk, how they flap their wings, stretch their necks, eat.Pantomime game "Who lives in Africa?" Target... Teach, move freely, using all the surrounding space; to form skills of improvisation. Before the game, the teacher exposes illustrations on the flannelgraph depicting African animals (giraffe, elephant, lion, rhino, hippopotamus, zebra, monkey ...). Are these animals familiar to you? (Answers of children.) Imagine that you are in hot Africa and turned into these animals. You do not say who you have become, but I will try to guess it. The phonogram "Chunga-changa" turns on, the children imitate the movements of the selected animal, and the teacher tries to guess.Pantomime game "Anthill" Purpose... To teach to identify oneself with a given character, to induce to an independent choice of a role. Imagine that you are walking through the woods. The sun is hot, it's far from home, your legs are tired, and you decided to rest. And here is the stump! We sat down on a tree stump, stretched out our legs, closed our eyes, resting. And suddenly ... what is it? Someone is crawling on your feet ... Oh, these are ants! You sat on an anthill stump! Rather shake off the ants and, carefully, so as not to suppress them, jump to the side ... The game is played several times collectively and individually at will.Pantomime game "Flies" Purpose... To develop pantomimic skills and creative imagination Children are invited to listen carefully to the poem, then the teacher reads, and the children, without uttering a word, "show" the poem with facial expressions and gestures. You can use musical accompaniment. On a parquet floor of eight pairs, the flies were dancing. We saw a spider fainted. Oh! The poem is played out several times. (You can change the music.)Pantomime game "Greedy Dog" Purpose... Develop pantomime skills. The teacher reads the text, the children imitate the movements in the text: The greedy dog ​​kneaded the dough, brought firewood. I baked a pie, lit the stove, sat down in a corner of water, applied it, and ate it myself! AM! Pause after each line so that the children can improvise in the movements of the assignment. If there are difficulties, then join the game yourself or with leading questions. Help the kids achieve a more convincing game of how hard it is to carry firewood! A whole bunch in our hands, we bent under their weight, etc.)The pantomime game "The hare had a vegetable garden" (V. Stepanov.) Purpose... Develop pantomime skills. The teacher reads, children imitate movements. The bunny had a garden, the bunny is happy to go. Equally two beds. But first he will dig up everything. There he played snowballs in the winter, And then he evens out everything, but in the summer he plays hide and seek. He will sow the seeds deftly, and in the spring he will go to the garden to plant carrots. The fossa is the seed, the fossa is the seed. And you look, in the garden again, peas and carrots will grow. And as autumn approaches, he will gather his harvests. And this is where the story ends!Pantomime game "Snowdrift" Purpose: Develop pantomimic skills, imagination; educate communication. Children imitate movements in the text. There is a snowdrift in the clearing. Big, great. But now the sun has warmed up. The snowdrift quietly began to settle under the rays of the warm sun. And small streams slowly flowed out of the snowdrift. They are still sleepy and weak. But then the sun warmed even more, and the streams woke up and quickly, quickly ran, bending around pebbles, bushes, trees. Soon they united, and now a stormy river is rustling in the forest. The river runs, carrying with it last year's leaves and branches. And soon the river merged into the lake and disappeared. Why did the river disappear into the lake?Pantomime game "Bear Cubs" Goal: Develop pantomime skills. But look, a mountain of old dead wood. Oh, this is a den! And the cubs are sleeping in it. But then the sun warmed up, melted the snow. Water droplets seeped into the den. Water hit the nose, ears, paws of the cubs. The cubs reached out, snorted, opened their eyes and began to get out of the den. Spreading the branches with their paws, they got out into the clearing. The rays of the sun blind the eyes. The cubs cover their eyes with their paws and growl in displeasure. But soon the eyes got used to it. The cubs looked around, sniffed the fresh air and quietly scattered across the clearing. How many interesting things here! Further improvisation is possible.Game - pantomime "Visiting a fairy tale" Purpose: Develop pantomime skills. Children choose cards with images of fairy-tale characters. Show how the Goat (Baba Yaga, Little Red Riding Hood, etc.) looks in the mirror; trying a favorite dish; tastes an unloved dish; listens to a compliment; listens to the remark; sits on a chair.Game - pantomime "Sculptor and Clay" Purpose... Development of communication skills. Children are distributed in pairs and take an empty seat in the hall. They agree among themselves who is the "Sculptor" and who is "Clay". Sculptors sculpt from Clay: animals, athletes, toys, fairy-tale characters. Then the players switch roles. Note: Several experts are selected who guess what the Sculptor has blinded. After solving the Sculpture (Clay), it is disenchanted and ceases to maintain its pose.

Appendix 5

Sketch card index

Study "Buying a theater ticket" Purpose... Develop the ability to convey an emotional state using facial expressions and gestures. Children in a creative semicircle. The teacher introduces them to the new word “etude”: “This word is of French origin and translates as“ teaching. ”The concept of“ etude ”is used in painting, music, chess and plays the role of preliminary training work. In the theatrical art, an etude is a small performance in which a certain event should take place in the proposed circumstances, conditions, situations. " The teacher invites the children to compose a sketch on the theme “Collective going to the theater”, asks: “What needs to be done before going to the theater? Where are the theater tickets sold? (At the box office.) Who sells the tickets? (Cashier.) "For the sketch you need a table and a chair. Children set up props on the stage. The teacher places a sign on the table with the words "Theater box office". Educator. We have a box office. We need a performer of the role of a cashier. (The willing child sits down at the table.) Before you go to the ticket office for tickets, you must answer questions. Who are you, where did you come from, how many tickets do you want to buy and for whom? All children queue up at the cashier's desk. Educator. Have you guys ever watched how a queue is created? This happens when the cashier does not have time to serve customers. What can you think of so that there is no queue at the checkout? (Add cashiers.) This is how we will do - we will increase the number of cashiers. Not all of them will come to the checkout at once, but gradually 2-3 people at a time. The etude is rehearsed two or three times.Etude "Consolation". Target... Develop the ability to convey an emotional state using facial expressions and gestures. The boy accidentally broke the girl's toy, she is crying, the rest of the guys must calm the girl down, comfort her. The performer of the role of the girl "cries". Children surround her, and each offers his own version of consolation (gives a new toy, tries to repair a broken one, etc.).Sketches - moods Purpose... Develop the ability to convey an emotional state using facial expressions and gestures. Study "New Doll" The girl was presented with a new doll. She is happy, jumps merrily, whirls, plays with a doll. Study "Baba Yaga “Baba Yaga caught Alyonushka, told her to light the stove so that she could eat Alyonushka later, but she fell asleep. She woke up, but Alyonushka did not run away. Study "Teddy bears »The cubs lie in the den. A strong wind blew and made my way into the den. The cubs are frozen. They shrank into balls - they are warming up. It got hot, the cubs turned around and growled Study "Focus “The boy was very surprised: he saw how the magician put a cat in an empty suitcase and closed it, and when he opened the suitcase, the cat was not there ... A dog jumped out of the suitcase. Study "Home Alone "The raccoon mom went to get food, the little raccoon was left alone in the hole. It is dark around, you can hear different rustles. The little raccoon is scared, what if someone attacks him, and mom does not have time to come to the rescue?"Etude "The Fox Eavesdrops"A chanterelle stands at the window of the hut in which the cat and the cock live, and overhears what they are talking about. Study "Vaska the Cat "The hostess baked a sour cream pie for the holiday and went to dress up. The cat Vaska crept into the kitchen and ate the cake. The hostess ran to the noise and began to scold Vaska. Vaska felt ashamed.Study "Salted tea"The boy watched TV while eating. He poured himself tea and, without looking, mistakenly poured two tablespoons of salt into his cup instead of sugar. He interfered and took the first sip. How disgusting it was in his mouth!"Study "New girl"A new girl came to the group. She was in an elegant dress, holding a beautiful doll in her hands, a big bow was tied on her head. She considered herself the most beautiful, and the rest of the children were unworthy of her attention. She looked down on everyone, pursing her lips contemptuously. ... Study "In the forest "Friends went for a walk in the forest. One boy lagged behind, looked around - there was no one. He began to listen: can you hear voices? (ATTENTION) It ​​seems that he hears some rustling, crackling of branches - what if it's a bear? (FEAR) But then the branches parted, and he saw his friends - they were also looking for him. The boy was delighted: now you can return home! you can show images of certain emotions.In case of difficulty, encourage children to help each other.

Appendix 6

Mini-sketches card index

Mini-scene "Hedgehog »Child: Very, hedgehog, you are good, but you won't take it in your hands (in your paws)! Hedgehog: Not good? So what of it! I am not a hedgehog without needles! The teacher learns this scene with children, and then, changing characters (child, wolf, fox, bear), suggests playing it out in roles, paying attention to intonational expressiveness. Children are divided at will into pairs and play this mini-scene using caps - masks. Mini-scene "Clean Hedgehog»Child: Hedgehog puffs and frowns: Hedgehog: What am I to you, cleaning lady? I can't remove the forest! Keep clean! Children are divided at will into pairs and play this mini-scene using caps - masks.Mini-scene "Beetle»Teacher (or child): On the lawn, on a daisy, the Beetle was flying in a colored shirt. Beetle: Zhu-zhu-zhu, zhu-zhu-zhu, I am friends with daisies, I swing quietly in the wind, I bend low and low. Pay attention to intonational expressiveness when pronouncing the words of the beetle.Mini-scene "The Giant and the Mouse"(A. Frondenberg) using puppets of the bi-ba-bo theater. Teacher: Shh ... Quiet! Listen guys! Once upon a time there lived a giant. In a dream, he sighed with all his might, and swallowed a living mouse ... The poor man ran to the doctor. Giant: I ate the mouse, I'm not kidding! Mercy, what a joke, She squeaks in my stomach! Teacher: There was a doctor, the smartest person. He looked sternly from under his eyelids ... Doctor: Open your mouth, say: A-ah. A live mouse? What for? When? Giant: Now! Doctor: So why are you sitting? Go swallow the cat! Teacher: This is the end of the fairy tale, but who listened well!Mini-scene "Mistress and a cat»Mistress: Why are you black, cat? Cat: I climbed into the chimney at night. Mistress: Why are you white now? Cat: I ate sour cream from a pot. Hostess: Why have you become gray? Cat: The dog was throwing me in the dust. Hostess: So what color are you? Cat: I don't know that myself. After learning, the children are divided into pairs and, using caps-masks - costume details, they play out a mini-scene.Mini-scene "Brusnichka" Target ... Develop intonational expressiveness of speech; develop imagination, fantasy, pantomimic skills. Host: Cowberry near the stump said to everyone: Cowberry: No me! Host: I looked around and then hid under the sheet. The sun's ray found her, shouted: Ray: not good! I cheated! Ah ah ah! Hey, lingonberry, get out! Host: the berry blushed and said: Cowberry: Yabeda! Children learn a mini-scene while playing. Then he offers to learn and act out the poem-mini-scene in roles. At the same time, it is necessary to pay attention to intonation and mimic expressiveness.

Mini-scene "Falling leaves" (N. Egorov) Purpose... Develop creative imagination Host: Falling leaves? Forest: Leaf fall. Presenter: Autumn forest cauldrons, cannabis swooped down. The edges have become red. The wind flew past, the forest wind whispered: Wind: Don't complain to the doctor, I'm flying freckled: I'll cut off all the redheads, I'll throw them into the grass!

Appendix 7

Quiz "Play the Theater"

1. The most pleasant noise for artists during the performance. What's this? (Applause.) 2. What character in Tolstoy's fairy tale sold ABC and bought a theater ticket? (Pinocchio.) 3. What theater did Karabas Barabas own? (Puppet theater.) 4. Is the make-up artist a researcher of the Brothers Grimm or a theater worker? (A theater worker who makes up artists.) 5. Is a comedian a person living in the Komi Republic, or an actor performing comedic roles? A comic actor or just a person of a cheerful disposition. And a resident of the Komi Republic is Komi, both in the singular and in the plural. 6. What is the name of the venue where the theatrical performance takes place? (Scene) 7. What is the name of the time for eating sweets in the theater buffet? (Intermission.) 8. The most ballet skirt is ... What? (Pack.) 9. Canvas separating the auditorium from the stage. (Curtain) 10. In the famous tale of the famous Danish writer, fragments of a shattered magic mirror scattered around the world. One piece of the mirror hit the boy's heart. Who wrote this tale and what is it called? (G.H. Andersen "The Snow Queen) 11. Who in" The Tale of the Dead Princess and the Seven Heroes "by A.S. Pushkin tried to find out from the magic mirror: My light, mirror, tell me, Yes, report the whole truth: I am all in the world sweeter, All blush and whiter. (Evil stepmother) 12. From what fairy tale by Kornei Chukovsky or a poem translated by him are these excerpts taken? 1. "The animals were delighted! They laughed and sang, clapped their ears, stomped their feet ..." Confusion. 2. "But they did not listen to the gazelles and still rattled: Is it really all the swings burned out? What a stupid gazelle! .." Telephone. 3. "For a long, long time she kissed and caressed them, watered them, washed them, rinsed them ..." Fyodor's grief. 4. "And next to it a toothy shark nodded, a toothy shark. In the sun lies ..." Aibolit. 5. "I want to drink some tea, I run up to the samovar, but the pot-bellied man ran away from me, like from fire ..." Moidodyr. 6. "And the dandy elephant dances so dashingly that the ruddy moon trembled in the sky and fell head over heels on the poor elephant ..." Cockroach. 7. Well, what is this, incomprehensible, wonderful, with ten legs, with ten horns? .. "Zakalyaka. 8." He wanted to take a walk, lie on the grass-ant ... "Sandwich.

Summary of the lesson on theatrical activities in the senior group "On a visit to the dolls"

Software content:

1. Teach children from ready-made forms to design paper dolls on the basis of a cone

2. To activate the speech of children, to enrich the vocabulary with new concepts of professions in the theater (puppeteer, puppeteer.)

3. To create in children a cognitive interest in puppet theater.

4. Foster trusting interactions between children; to help overcome shyness, emancipation, increase self-esteem of children.

Vocabulary work: puppeteer, puppeteer.

Material for the lesson: projector, presentation, excursion to the puppet theater, music, patterns of cones, patterns of faces of fairy-tale characters, glue, napkins, doll, screen.

Methods and techniques : the use of ICT, the use of a problem situation, artistic word, practical activities of children, a surprise moment, a game technique, physical education.

Integration of areas:

Cognitive

Social - communicative

Speech

Educator: Hello guys. My name is Valentina Filippovna. Today we will take a tour. Music sounds, children sit on chairs and see

slide showing the puppet theater - Puppet theater - Slide number 1

Educator: You probably already guessed what kind of palace it is?

Children: Puppet theater

Educator: Do you like theater? Do you like going to the puppet theater? I see that many of you have been more than once. Miracles happen in the theater and the puppets come to life. A Caramel doll appears from behind the screen.

Caramel: Hello friends. Here I am.

Educator and children: Hello Caramel.

Caramel: I live in a puppet theater, and you came to visit me. I have a surprise for you - a music box. - Slide number 2

Educator: Let's see what's in it? Yes, these are riddles. You love solving riddles.

Children: yes

Caramel: Grandma loved the girl very much.

I gave her a red hat.

The girl forgot her name.

Well, tell me her name.

Children: Little Red Riding Hood

The Red Riding Hood Slide №3 appears on the screen.

Caramel: This is my favorite fairy tale, do you know this fairy tale?

Children: Yes.

Caramel: And now I'll see, how do you know?

Who is not the hero of this tale? Do you see a red riding hood, a wolf, a grandmother or a grandfather on the screen? Slide number 4

Children: grandfather

Caramel: true, (wrong answers disappear)

Tell me, friends, what Little Red Riding Hood had in her hands when she went to visit her grandmother: a suitcase, a basket, a handbag, a backpack. Slide number 5.

Children: basket

Caramel: Right a basket. (wrong answers disappear)

And what was in the hands of the woodcutter: a gun, an ax, a bow with steles, a saber

Slide number 6

Caramel: Is this how we will now check. Right an ax. (wrong answers disappear). What kind of children are great, everyone knows, it's so interesting to play with you.

Educator: And we Caramel also want to offer you a game, you sit down for now, rest and look at us.

Physical education

Little girl - springs to the right, to the left

Running fun - running in place

Along the path to the house - hands with a roof over your head to the right, to the left

What stands in the forest.

This girl needs clap hands

Go to grandmother soon

Carry the basket - the hands represent the basket

With pies for her - palms represent pies

Educator: So we had a little rest with you. Guys, tell me, would you like to look into the theater and find out what professions people work in the theater? People of different professions work in the theater. Now you yourself will guess who we are going to talk about today:

I put the doll on my hand,

Meowed, sang a song,

I changed my glove -

The jester squatted down!

Who is leading the doll?

Leads the stage.

Children: Puppeteer

Educator: Correctly puppeteer, Slide number 7

PUPPET MASTER - A puppet theater artist, from behind a screen, controlling puppets with canes, threads, special gloves. The puppeteer actor conveys the image of the hero with emotions and feelings through speech using the movement of the doll.

Who do you think makes the dolls?

That's right, these are puppeteer guys -

Slide number 8 - a master making dolls. What do you think a puppeteer makes dolls from?

Children: wood, fabric, wire, plastic ,.

Would you like to become a puppeteer at least for a moment and make a doll for the play? Before we start working in the workshop, we must turn into puppeteers. Put on oversleeves (dressing). We need armbands in order not to get dirty. Master puppeteers use special clothes in order not to get dirty with paint, glue, varnish, sawdust, that is, the material they use in making dolls. And we will put on armbands. I suggest you enter the workshop and transform into puppeteers. Let's get up and walk to the workplace. Today each of you will try to make a doll for the theater. Children come to tables, where materials for making toys from cones are prepared in advance.

Children, today we will be making dolls with a cone, see how you need to fold a semicircle to make a cone, grease its edge with glue, you get a cone. It remains to attach a head to our doll. Getting started, who needs my help, raise your hand.

While the children are working, music sounds. (children start to work standing)

Well done, I see that you have all finished your dolls. Let's take a look at them (I invite the children to show the dolls.) What beautiful dolls we all got. You worked very carefully. Which doll did you like the most? And which one did Fedya like? I would like to celebrate this doll. See how neatly the cone is made. All details are in place. Did you enjoy being in the role of master puppeteers?

Look what I do now, take off one oversleeve. I put on a doll on the arm that was left with the oversleeve. And I immediately turn into a puppeteer.

The hand turns

And a kitten and a puppy.

So that the hand becomes an artist,

Very, very little is needed:

Special gloves,

Intelligence, talent - and everything is in order!

Try to turn into puppeteers (children take off one sleeve). I invite you to the stage of our puppet theater. You will now be both puppeteers and spectators. Look, our Caramel is bored, let's invite her with us?

Our stage will be the screen, and the chairs will be the auditorium. Let's sit down more comfortably, and now everyone will try themselves as a puppeteer.

Educator: And here is Caramel, who wants to get acquainted with your dolls. Guys, let's say hello to her? Don't forget that you are puppeteer actors. Petya, you greet like a gray wolf.

(Children play sketches with Caramel)

Bottom line.

Caramel: How pleasant it was for me to communicate and work with you. I would like to ask you, where have you been today?

At the puppet theater.

Caramel: What new professions have you met? What fairy tale characters did you meet?

Thank you guys for coming to visit me today. I hope that you will still enjoy going to the theater and not only the puppet show!

The play "A big-big turnip has grown up"

Participants: host, grandfather, grandmother, granddaughter, Beetle, Murka. Mouse.

Host: My grandfather planted a turnip, he tried his best. The turnip has grown wonderfully! So tasty and so beautiful !.

Grandfather: We need to rip the turnip, the grandmother should be called. Well, grandma, don't be lazy and follow me.

Grandmother and grandfather pull the turnip

Grandma: I need to call my granddaughter, so we can't rip off the turnip! I have grown very large and heavy!

Host: They began to call the granddaughter together, and then pull.

Granddaughter: No, we won't cope again, we need to call our bug. Come on! Don't be lazy, don't be lazy, grab the hem as soon as possible!

Host: The bug ran up to her granddaughter and began to pull her skirt. Only the turnip is all in place, no, do not pull them together!

Bug: Woof-woof-woof, what a trouble! We need to call Murka then!

Host: Here and the Murka arrived in time, and they got down to business! They pull nicely, but the trouble is: neither here nor there!

Murka: It wouldn't hurt to click the mouse, only here I was running!

All together: Mouse, mouse, don't be lazy, work with us together!

Mouse: I would be glad to work hard, but what will be the reward?

Murka: You will get a small piece of turnip my friend.

Host: Let's stand together, say "Uh". Pulled out the turnip suddenly! And a cheerful round dance near the turnip will go here.

Everyone joined hands in a round dance. Use the Russian folk song "Like at our gates" as musical accompaniment

Ay yes turnip, beauty,

And you are round and tasty!

Chorus: Ay-lyuli, ai-lyuli,

And you are tasty and round.

Yes, how did your grandfather plant you,

How he watered you!

Chorus: Ay-lyuli, ah-lyuli

How he watered you!

How did we come together

And they tensed a little

Chorus: Ay-lyuli, ai-lyuli

Yes, how we all tensed.

A glorious crop has grown

We surprised the whole region!

Chorus: Ay-lyuli, ai-lyuli

We surprised the whole region!

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480 RUB | UAH 150 | $ 7.5 ", MOUSEOFF, FGCOLOR," #FFFFCC ", BGCOLOR," # 393939 ");" onMouseOut = "return nd ();"> Dissertation - 480 rubles, delivery 10 minutes, around the clock, seven days a week

Fokina Ksenia Igorevna. Informational support of the performance in the modern theatrical process: dissertation ... of the candidate of art history: 17.00.01 / Fokina Kseniya Igorevna; [Place of protection: Ros. acad. theatre. art (GITIS)]. - Moscow, 2008 .-- 180 p. : ill. RSL OD, 61: 08-17 / 30

Introduction

Chapter first. Informational support of the performance in the space of the theatrical market 10

1.1 Modern theatrical process: general characteristics 10

1.2 Theater market: general characteristics 33

1.3 Informational support of the performance on the theatrical market 59

Chapter two. Technologies for creating an IP performance in the theater market 74

2.1 Communication aspect of the IP of the show 74

2.2 IS of the performance in the system of theatrical communications 83

2.3 IP of the performance in the system of marketing communications 89

2.4 Performance IP, Branding and Positioning 121

Conclusion 139

Bibliography 156

Introduction to work

The relevance of the topic of the dissertation. Socio-economic reforms, which turned Russia towards the market path of development, and affected almost all aspects of national life, could not but touch the theatrical life of our country. Under their influence, the modern theatrical process is constantly transforming, varying in details, acquiring more and more new signs - in accordance with the changing spirit of the times, and sometimes in spite of it. In the course of development, new theatrical realities appear and, as a result, the modern theatrical language is enriched with a mass of new words and * expressions: management, marketing, branding, publicity, market promotion, communication technologies, etc. Many such categories are borrowed from adjacent areas of humanitarian knowledge * and socio-economic sciences and transferred to the theatrical sphere.

Some of them remain with not fully identified, specifically theatrical, content and are used by specialists in the field of stage management as working terms rather than strict scientific concepts. And this is also a landmark moment in the transitional stage of development.

The author of the study proceeds from the understanding that management of performing arts has its inherent specificity and therefore cannot be fully identified with management in other spheres of the economic and economic life of society. Used in business, politics, economics, marketing, the concepts of "PR", "advertising", "brand" and a number of other categories need a certain correction in relation to theatrical business. This general research attitude determines the problematics of the dissertation and the way it is considered.

The object of research is the modern theatrical process, taken in its informational reflection. Its * main "unit of measurement" is the performance - the goal and meaning, the result and the pinnacle of all the theater's creative activity. The problem of informational support of the performance (IS of the performance) stands out as a key one, is subject to comprehensive consideration on the pages of the dissertation and, thus, acts as a subject of research. The IP of a performance in the dissertation means informational support of a performance throughout its stage life - from the choice of a play and the beginning of the rehearsal process to the moment it is withdrawn from the rental. 1991 is taken as a conditional chronological point of reference - the beginning of deep socio-political and economic changes in Russia. In some cases, the author of the dissertation refers to earlier events of theatrical life because of their importance for understanding the tendencies of modern development.

The legitimacy and timeliness of the very formulation of this problem seem obvious. Much in the current theatrical practice continues to be done "on a whim" and "by eye", while the new living conditions imperiously dictate the need for other approaches to theatrical work - mature, conscious, scientifically grounded.

A comprehensive study of the phenomenon of IP performance in the modern theatrical process puts the science of theater at the service of theatrical practice and in this sense is highly relevant.

The purpose and objectives of the study. The purpose of the study is a comprehensive study of the phenomenon of information support, stage work (IS of the performance).

This main research intent predetermines the specific objectives of the dissertation:
... to consider the main features of the modern theatrical process in the light of the development of performing arts marketing;
... to characterize the value of information and the place of IP performance in the theater market;
... identify the main components of the IS of the performance and determine its coverage in the marketing communications system;
... to develop a technology for creating an IS performance in a modern theatrical process.

The elaboration of the topic. In the research literature on theater, one can rarely come across a systematic analysis of new phenomena in the theater business (such as PR activities, advertising campaigns, the use of marketing communications, branding, etc.). In the methodological manuals for non-profit organizations, for the most part, some practical aspects of the economy and organization * of entertainment enterprises are highlighted, but the theatrical aspect itself is absent in them, with a few exceptions.

The economics and sociology of culture (including theatrical culture) in most foreign countries is sufficiently developed and developed in detail. F. Kotler, F. Colbert, D. Scheff and others have dealt in detail with the promotion of works of art on the territory of the western art market. In the fundamental works of D. Blythe, F. Kotler, K.L. Keller, E. Rais, D. Trout developed a holistic approach to the history and theory of marketing.

The theoretical works of W. Ahrens, Black, C. Bove, G. Broome, A. Murray, Cutlip, A. Senter are devoted to issues of PR and advertising.

About the theatrical essence of marketing communications in the field of economics and theater organization, significantly fewer scientific works have been written. All the more valuable for the purposes of the study of the book and article of SM. Apfelbaum, G.M. Galutsky, Yu.N. Davydova, G.G. Dadamyan, V.N. Dmitrievsky, A.B. Dolgin, D.B. Dondureya, B.C. Zhidkova, E.L. Ignatieva, T.A. Klyavina, L.N. Kogan, E.A. Levshina, Yu.M. Orlova, A. Ya. Rubinstein, B.Yu. Sorochkina, G.L. Tulchinsky, N.A. Khrenova, A.Z. Yufit and a number of other researchers. They contain rich material for judgments and conclusions about the social functioning of the theater, about the audience and ways of studying it, about modern communication technologies. Of undoubted value for theoretical understanding of the topic under consideration are the materials published in the "collections of scientific papers" Economics and Organization of Theater "," Theater and City "," Theater and Artistic Culture "and some others. Along with special theatrical works by AA Anikst, G. N. Boyadzhiev, A. A. Gvozdev, B. I. Zingerman, D. I. Zolotnitsky, P. A. Markov, S. Mokulsky, K. L. Rudnitsky and other analysts of theatrical art, they form the theoretical basis of the study.

The historical and theoretical aspect of the dissertation problematics is covered with sufficient completeness in the works of G.G. Dadamyan, E.A. Levshina, G.Z. Mordison, Yu.M. Orlova, I.F. Petrovskaya, L.I. Tikhvinskaya and others.

For understanding the current process, books and articles by acting theater critics are important (A.V. Bartoshevich, M.Yu.Davydova, M.Yu.Dmitrevskaya, R.P. Dolzhanskiy, V.V. Ivanov, B.N. Lyubimov, A. A. Mikhailova, T.V. Moskvina, AM Smelyansky, I.N.Solovieva, T.K. Shakh-Azizova, etc.); artists (V.E. Receptor, Yu.M. Solomin, O.P. Tabakov, M.A.Ulyanov, S.Yu. Yursky, etc.); directors (R.G. Viktyuk, M.A.Zakharova, Yu.P. Lyubimov, K.A. Raikin, etc.).

Interviews of theater directors, artists, review and problem articles by critics and publicists published in periodicals, as a rule, are saturated with theatrical empiricism. Allowing to hear the "voice" of time, to recognize the "color and flavor" of modern reality, they at the same time provide a variety of material for thinking about the strategy and tactics of IP performance in the modern process. In search of the required material, the author of the thesis turns to specialized newspaper and magazine publications: "Art Manager", "House of Actor", "Culture", "Directory of the Head of Cultural Institutions", "Petersburg Theater Journal", "Stanislavsky", "Strastnoy Boulevard" , "Theater", "Theater life", "Theater business" Relevant Internet portals and sites (www.afisha.ru, www.mass-media.ru, www.pronline.ru, www.proreklamu.ru, www.raso .ru, www.smotr.ru, www.sovetnik.ru, www.theatre.ru, etc.) contain the necessary practical material for analysis and conclusions about the latest information technologies. The everyday side of the theater is described, v.

mainly, publications of the mass press designed for a wide audience: "Evening Moscow", "Komsomolskaya Pravda", "Moskovsky Komsomolets", "Your Day" and others. "Glamorous" publications are also involved in the same side of theatrical life: "Liza", " Planet Beauty "," Secrets of Beauty ", etc. Their content contributes to the recognition of certain aspects of the social psychology of the so-called" mass spectator ", and from this point of view, it is of particular interest for the development of a strategy and tactics of IP performance. Additional material for understanding the modern theatrical process is supplied by permanent theatrical headings and applications of periodicals (Vedomosti, Kommersant, Nezavisimaya Gazeta, Rossiyskaya Gazeta, Expert, etc.), including mass publications ( Your leisure "," Where "," TV-Park "," 7 days ").

Research methodology and its theoretical basis.

The dissertation work is based on an integrated approach to the subject of research with the aim of its comprehensive study. The principles of contextual analysis are fundamental in considering the individual components of modern theater management.

Drawing on the works of foreign and domestic scientists on the theory of communication, PR and advertising, management and marketing, social psychology, economics, organization and sociology of the theater, the author strives to identify, preserve and emphasize the theatrical “grain” of the problem under consideration. According to the author, a comprehensive study of the questions posed in the dissertation should not "dissolve" the theatrical essence of the matter itself. The author of the study sees the solution to this problem in the convergence of the analytical principles of management of the performing arts with the methodological principles of critical analysis of the performance, developed by the classics of Russian theater studies and theater criticism.

Scientific novelty of the work. The category "IP of the performance" is for the first time introduced into scientific * everyday life as one of the fundamental concepts of stage management in general and communication technologies in particular. The development of the content of this category serves as an essential addition to the conceptual and categorical apparatus of theater science.

Difficulties in revealing the basic concept of work are, to a certain extent, due to the fact that the terminological apparatus is the least developed part of modern theater science. The proposed research, focused on considering the problems of organizing information support for a performance, largely fills this gap.

A comprehensive consideration of this theatrical phenomenon can induce scientific thought to activate intellectual reflection "on the topic of stage management and expand the existing ideas about the organization of theatrical business at the present stage of development.

The practical significance of the work. The experience of comprehending one of the key aspects of the modern theatrical process - the IP of the performance - actualizes knowledge about the informational activity of the theater as one of the necessary and responsible components of theatrical business and can be applied in specific theatrical practice. It is for the theater practitioners - new generation managers - that the understanding of the main components of the IP of the performance is of particular value.

The materials of the dissertation, its main ideas and conclusions can be used in theatrical pedagogy, in the preparation of the next generation of specialists, organizers of theatrical business.

Approbation of work. The dissertation was discussed at a meeting of the Department of Performing Arts Management of the Russian Academy of Theater Arts - GITIS and was recommended for defense.

The main provisions of the dissertation are reflected in the reports made by the author at the All-Russian scientific and practical conferences and in a number of publications. Since the beginning of this century, the technologies for creating information support, described in the dissertation, have been used by the author of the study in organizing and conducting theatrical advertising and PR projects: "Golden Mask", "NET", "Broadway in Moscow" (musical "42nd Street") ...

The structure of the thesis. The dissertation consists of an Introduction, two chapters, a Conclusion and a Bibliography.

Modern theatrical process: general characteristics

In the Soviet era, the domestic theater developed under the sign of the unity of ideological attitudes, aesthetic criteria and organizational forms: in terms of repertoire policy, organizational forms, and ways of interacting with the audience, it was a kind of "monocultural" formation. A variety of theaters were, in the words of P.A. Markov, "tributaries of one river" 1. Of course, this by no means meant a complete absence of artistic discoveries and stage revelations. To be convinced of this, it is enough to recall the directorial work of G.A. Tovstonogov, renewal of stage realism in the performances of O.N. Efremova, the phenomenon of the “theater of A.V. Efros ", poetic creations of Yu.P. Lyubimov or the experiments of M.A. Zakharova: However, by the beginning of the 1980s, our theater was clearly experiencing a state of "social fatigue." On the one hand, the impact of strict ideological regulation led to the restriction of repertoire politics, and on the other hand, in the direction of direction one could feel the exhaustion of theatrical ideas, which took off in the 1960s-1970s. For various reasons, the former idols lost their leadership positions in the theatrical process, and the new ones made their way with very big obstacles. This "stagnant" situation B.N. Lyubimov rightly and accurately defined a worldview and theatrical "gap" 2 as a situation.

The beginning of the era of liberal reforms, called "perestroika", eventually led to profound economic, socio-political and cultural transformations. Over the past fifteen or twenty years, the theater found itself in fundamentally new conditions, radically different from the previous "pre-perestroika" situation, and itself changed the forms of its aesthetic, organizational, legal, financial and economic existence. A detailed and close examination of what is happening is not included in our task - this is a topic for a separate study. But in order to determine the place and significance of the IP of a performance in modern conditions, it is necessary to characterize the direction of the theatrical process, to show how it has developed over the years of perestroika, especially emphasizing the new qualities inherent in it.

Glasnost, initiated by perestroika, was perceived by the theater primarily as an era of expanding social freedoms, which was reflected in the organizational sphere of theatrical business. There was a reorganization of the WTO - the All-Union Theater Society in the STD - the Union of Theater Workers, whose chairman was M.A. Ulyanov (1986). In the same year, the Confederation of theatrical unions of the USSR was created, headed by K.Yu. Lavrov, promptly holding the First Congress of the theatrical unions of the USSR. At the sessions of the congress, for the first time, the problems of the functioning of the theater in a new socio-cultural situation were posed with all sharpness. An increase in the economic factor in the life of the theater was noted, an increase in the quantitative characteristics of all aspects of theatrical business, and at the same time a clear change in the system of artistic values.

The liberalization of public life provided the theater actors with the opportunity to openly pronounce from the stage what was previously discussed only in private, in the space of intellectual communication between socially close interlocutors. A number of performances arose, which critics classify as the genre category of stage journalism: "Speak!" at the theater. MN Ermolova, "Braking in the Sky" at the Theater. Mossovet, "Street Shalom Aleichem, 40" in the theater. K.S. Stanislavsky, "Silver Wedding" in the Moscow Art Theater. M. Gorky, "Dictatorship of Conscience" at the Moscow Theater. The Lenin Komsomol and others. The performances and plays that were previously under censorship were staged: "Alive" and "Boris Godunov" at the Taganka Theater, "The Suicide" at the Satire Theater, "The Deer and Shalashovka" at the Gorky Moscow Art Theater, " Zoykina's apartment "at the theater. Eug. Vakhtangov and others. Modern themes have generated a stream of so-called "black-eyed" performances, focusing the audience's attention on extreme subjects and all kinds of marginal characters - prostitutes, drug addicts, homeless people, etc. "Dump" A. Dudareva, "Dear Elena Sergeevna" L. Razumovskaya, "Stars in the Morning Sky" by A. Galina, "Murlin Murlo" by N. Kolyada and other plays of this series prepared the legalization of nudity and profanity in the theater; The so-called "new drama" took shape in the mainstream of this "kurtosis aesthetics".

The initial stage of the reforms proved to be very mobile in the theatrical sense. Tours by foreign theaters have become a permanent component of the current theatrical process. Visits to European festivals of Russian theaters, the work of our directors abroad, the work of foreign directors in the capital, and then in the provincial theaters of Russia, have entered into everyday theater practice. The active interaction of domestic stage direction with the experience of world theater has expanded the aesthetic horizon of the domestic theater, initiated the development of a variety of stage forms, styles and stylistics.

Theatrical market: general characteristics

Reforming the former theatrical management and organizational forms and structures is largely associated with the emergence of a market economy in our country26. Already at the earliest stage of "perestroika" the ideology of "self-sufficiency" of the theater, which attracted the theater workers with a turn towards the market and market relations, declared its rights. However, very soon “theaters, rushing into self-financing, loudly advertised by a lobbying group of economists and leading theater workers, realized that they had hurried and quietly left the experiment without any fuss” 27. Soon some of the theater figures started talking about the fact that the modern theater market in Russia either does not exist at all, or it is “uncivilized”, “unprotected”. Indeed, the Russian theater market, which is in the stage of active formation, has not yet taken shape completely, but understanding the trends of its development is an urgent task of the management of the performing arts, because it was the stage management that transformed the theatrical map of Russia, saturating it with elements and mechanisms of the theatrical market. About them will be discussed further.

From the point of view of classical economics, the market (from the English market - the market) appears as a historically established sphere of commodity exchange, in which the final recognition of the social nature of the labor costs of individual commodity producers is carried out and the total cost of goods is determined in the process of purchase and sale, namely, their market value ...

From the standpoint of market participants, it is defined as "a form of social connection between business entities at all levels of reproduction: in the sphere of production, distribution, exchange and consumption." The emergence of the market is a historically justified process during which relations are formed between market participants: producers (sellers) 29, buyers, intermediaries and the state. Through these relations (competitive or partnership), the main elements of the market (price, demand and supply) and the central object of the market - the commodity (in the form of a product or service produced for the purpose of sale) are realized.

Modern views of the market as a meeting place for supply and demand remain valid for the theatrical market, but, naturally, acquire a specific coloring. From the standpoint of stage management as such, the theater process is a special type of market relations between various participants in this process - the creators of the performance (producers), spectators of the stage work (consumers), theater critics, journalists and publicists, as well as distributors of theater tickets (intermediaries), producers and managers (sellers). The market specificity of these relations is determined by the concept of "theatrical market", which is in many respects different from the economic concept of "market" and even closer to the theatrical art concepts of "art market" or "film market". Theaters and their performances, producers and entrepreneurs, patrons and theater patrons, various theatrical events (premieres, tours, festivals, etc.), directors, actors, set designers, lighting designers, critics and other theater professionals are drawn into the space of the theatrical market. Entering into complex and contradictory relationships, the participants in the theatrical process form a kind of specific, difficult to define unity, which is customary to speak of as a "theatrical environment." The commodity-money aspect of its existence is what we mean by the concept of "theatrical market", the problematics of which are unique and not simple.

The first of the pressing problems of the theatrical market is a completely accurate (adequate to reality) definition of the object of commodity exchange, the subject of sale and purchase. Despite the confident statement of an experienced manager-practitioner V.G. Urina31, this subject is unlikely to be a ticket to a theatrical performance. After all, a ticket is just a certificate for the right to visit a performance, a symbolic expression of trade, a form of registration of an act of transaction between a buyer and a seller, a consumer and a manufacturer. A ticket to a theatrical performance itself is not an object of sale and purchase, it does not rotate as a “commodity unit” on the theatrical market, it is not promoted as a commodity value for the consumer. Even if we consider the purchase of a ticket as the acquisition of the right to a seat in the auditorium, this does not turn it into a “commodity unit”, since the most important thing in this right is what exactly the viewer is offered to contemplate as a stage performance.

Let us pose a simple and natural question: what is traded on the theatrical market, what kind of product acts as such in the formula "Product - Money - Product" (or in the formula "Money - Product - Money")? At first glance, the answer to this question is quite simple: a play is a commodity circulating on the theatrical market. In professional slang they say: “sell the performance”, “the performance is not (or is) in demand”, etc. It is no coincidence that the title of one of the articles devoted to this issue is called "Performance - Money - Performance" 2.

Modern science offers an approach to performance from a “market” point of view as one of the “services” provided by a cultural institution called “theater”: “The activity of a theater is the production and sale of theater services to the population, the consumption of which is socially differentiated. The performance is only a part of the theatrical service, which should be taken into account when studying the needs of the population in the theater and, in particular, when studying the audience's demand. " But one cannot but say with full responsibility that this approach does not stand up to criticism, since it practically equates the main element of the transaction between the seller and the consumer (performance) with the secondary ones (convenience of parking, a buffet and other "related" services).

It is necessary to understand what the performance is from the “market” point of view, because the very specificity of theatrical marketing is determined by the uniqueness of the performance as an art phenomenon. It is important to emphasize that the performance is an independent theatrical and aesthetic value that suffers from itself. This is the value that cannot be “sold” or “consumed” - you can only join it. In this sense, the artistic value of the performance as a stage work can neither be increased nor decreased by anyone's efforts - theater critics, PR specialists, advertisers are completely powerless to change anything here. That is why the performance as a work of theatrical art can hardly claim the role of a full-fledged "object of exchange" - due to its special aesthetic nature, which is worth talking about in more detail.

The communication aspect of the IP of the performance

The main and main goal of the informational support of the performance is to affirm the image, the performance, in the minds of potential spectators, moreover, the constant presence of this image on the theatrical market. This means that the very process of creating an IS performance is permeated with all sorts of communication links, relationships and interactions. The IS of the performance is closely related to the concept of communication, it is its immediate component.

According to B.L. Borisov, communication is an effective “transfer of information from object to object, a specific form of communication” 66. It is necessary to emphasize the purposefulness of the transfer of information created for a certain impact on the perceptions of the recipient: "a specific message for a specific recipient is created, calculated for a given specific moment, for a given specific place, for a given specific context" 67.

At the same time, it is very important in response to receive an adequate and effective response to the transmitted message, the necessary completeness of information, which, when working with the IS of the performance, can make the process more efficient and effective. Therefore, we can talk about building a whole system of relationships between different groups of addressees, about the complexity and duration of the communication process when creating an IS performance. This work includes several directions: - collection of information both inside the theater and outside; - comprehensive study of the collected information; networking with various; participants in the communication process - creation of address messages; - selection of the most effective channels of information transmission for different groups of target audience; - receiving and analyzing "feedback"; - adjusting the form and methods of filing targeted messages in accordance with the results of the analysis of "feedback".

In various theatrical structures and formations, the position of the responsible for the communication of the theater is called differently, and in this; case case; not at all in TOMJ, as this position is called in the corresponding line of the staffing table - the head of the literary department, the deputy artistic director for repertoire, the head of the theater press service, or the head of the advertising department.

At the current stage of the development of the theatrical process, a variety of specialists are involved in the communication aspect of activity necessary for the theater. It should be noted here that in Russia the functions of “new” departments (advertising, PR, marketing, etc.), born of market relations, have not been fully developed in any of the spheres, not only theatrical but also business, politics, etc. B; a number of companies have combined advertising and PR departments. In individual companies, the marketing department performs the functions of all these divisions. Somewhere the department of exhibitions stands out. And in some companies, the business development department performs the functions of establishing relationships with government agencies and strategic partners. These departments are called differently, their functions are combined depending on the global ones; objectives of organizations, their strategic goals and the general policy of companies. All of these departments are directly related to the creation, transmission and collection of information.

The tasks of this work do not include the creation of recipes for a way out of the current situation or the proposal of an ideal system for theatrical organization. It is a matter of time and experience. However, the theater cannot exist without IS of performances, or, let's say more correctly, the existence of the theater will be deliberately limited, more meager (not only and not exclusively in the material sense). There is no doubt that with the development of the theatrical market and the adaptation of theaters to the conditions of market existence, this range of responsibilities will be assigned to a specific department in each theater and a single name will be established for the head of this service. Without prejudging the exact answer to the question of the correct naming of the professional who carries out the information and communication communications of the theater, we call him the author of the IS performance in order to emphasize the special nature of his work in organizing information support for the performance.

Professional communication with colleagues in the theater, establishing and maintaining contacts with representatives of the theater community, active participation in the current theatrical process, preparing information messages, finding the necessary space for their placement - all this (and much more) is based on the communication process, is its necessary component ... The main thing in communication is the exchange of information, and it is feasible only if one party offers information, and the other adequately perceives it. Therefore, in order to achieve effective information exchange, special attention should be paid to the laws and principles of the communication process as such.

The standard communication model consists of the following elements: source encoding message transmission decoding recipient. In the considered scheme, the author of the IS of the performance can act both as a "source" and as a "recipient" of information. At the same time, he participates in both formal communications (official messages) and informal (they arise spontaneously, are not controlled, generated by individual interests) in the theater and beyond.

In the case when it comes to replicating messages of information support, the "source" of communication should be understood as the author of the IS of the performance, under "coding" - the process of organizing information, under "message" - specially organized information, under "decoding" - the process of perception and assimilation of the information received, and under the "recipient" - a potential viewer.

IS of the performance in the system of theatrical communications

Theatrical communications, in which the author of the IS of the performance participates, can be conditionally divided into two spaces - internal and external, each of which, in turn, is subdivided into several "circles", spheres or areas of communication.

By the internal space of the theater, we mean representatives of all structural divisions and services of the theater - the troupe, shop workers, directorate, director's department, ushers, usheters and other theatrical employees. All of them are an invaluable source of information about the performance for the author of the IS of the performance, both during the period of its preparation and during the distribution period.

The first and closest circle of communication of the author of the information support consists of the creators - the authors of the play (director, set designer, lighting designer, composer, actors). In the communication interaction with them, the creative intention of the authors of the play is recognized, the still unclear outlines of the “image-design” are “recognized”, which should form the basis for the formation of the concept of the IP of the play. In the process of rehearsal work, the “image-concept” begins to acquire theatrical flesh, is corrected by theatrical “matter” and gradually becomes a “image-work”. And during the entire rehearsal period, the author of the IS of the performance takes the position of an "observer" in relation to the creators of the performance. His communication is mainly of a collective nature. It boils down to observing the progress of work on the performance, attentive fixation and the ability to analytically construct what was “noted” during rehearsals.

Based on personal observations, as well as verbal (dialogues, individual remarks, free communication) and non-verbal (mood, atmosphere, collective attitude towards the upcoming performance) contacts with participants in the creative process, the author of the IP of the performance develops the concept of IP more and more concretely and clearly.

Thanks to communication with representatives of the directing department, the author of the IS of the performance through personal contacts receives firsthand information about the nuances of the upcoming production in the process of implementing the idea. The latter is supplemented by information obtained as a result of cooperation between the author of the IP of the performance and the people involved in the creation of the performance (actors, artist, lighting designer, composer, director, head of the troupe). By contacting the members of the troupe, the author of the IS of the performance receives information about the employment of actors in filming and their participation in television programs, about the details of their creative biographies and other details of their “life in art”. This information can be further used to create news stories in the IS of the performance and even to replicate messages about the performance.

The second circle of contacts is employees of services and workshops involved in the creation and distribution of the performance (decorators, props, assistant directors, illuminators, usheters, ushers, etc.). On the basis of communications with this circle of contacts, a general idea is formed about the progress of work on the play, about individual details and nuances of the work, about its perception - first by the theater workers, and at the beginning of the general runs and during the Premiere period - by the friends of the theater and the first spectators. Ticket-keepers, cashiers, kapeldiners are the best informants about direct audience reactions. Their role in organizing the IS of the performance increases especially during the rental period. The information received from them helps to understand how much the “image-concept” of the performance coincides (and in what ways does it differ) with the “image-perception” in the mind of the viewer. Communication is mainly verbal and two-way, on the basis of which the concept is finally formed. IS of the performance and its strategy is being worked out in detail during the rental period.

The third circle of communication interactions is made up of the services involved in the promotion and sale of the performance - the directorate and the administrative part. The author of the IP of the performance cooperates very closely with the management and employees of the administrative part of the theater, since information support plays an important role in the functioning of the theater: being an integral part of the "promotion" process, it promotes ticket sales, attracting spectators, ensuring the attendance of the performance and maintaining interest in the theater ...

In the relationship between the author of the IP of the performance and the direction, trusting relationships are important, which are built on the basis of a creative dialogue. This is due to the fact that the organization of information support for the performance largely depends on the plans of the directorate for the rental of the performance, which in turn depends on how the performance is obtained as a result, and what place it can take in the modern theatrical process: what is its uniqueness, who might be interested in it. In communication with representatives of the third circle, an understanding is formed of what hopes are pinned on the performance: what place is given to it in the repertoire, is it planned for touring activities or only for rental at a hospital, is it supposed to be shown at various kinds of festivals, is it ready to participate in competitions and nominations for awards. Thus, there is no doubt that, working together, the management of the theater and the author of the IP of the performance can achieve the most effective result.

It is also necessary to take into account the fact that the theater itself is a complex communication structure, in which the performance is a communication act with the participation, on the one hand, of the creators of the artists, and on the other, of the audience. And the task of the author of an IS performance, creating informational support of this communication, is to attract viewers through the organization of the information field. He must understand the language of the artist, capture his thoughts, codes and symbols and transmit them by other means through the communication channels available to him. We have to face certain difficulties and learn to match multidirectional intra-theatrical communications.

Due to participation1 in communication processes within the theater, the author of the IS of the performance receives information that can later be used for the IS of the performance. Moreover, he is a "synthesizing" element of all structural units. But it is no secret that the role of the author of the IS of a performance is often unclear for some members of the collective: the author of the IS of a performance is not involved in performances, does not participate in productions, does not; develops a layout, scenery, does not draw sketches of costumes, does not operate light and sound equipment. The need to collect information about the play and its participants seems to many to be insignificant, not important, and sometimes too simple. Its role and complexity are clear only to a few. And only thanks to in-depth knowledge of the unwritten theatrical ethics, with skillful adherence to the ethical standards adopted in this theater, the author of the IP of the performance can effectively perform his functions. Comprehending the life of the theater from the inside, being a part of the theatrical collective, the author of the IS of the performance accurately defines its individual features and functioning peculiarities, which in many respects explain the reasons for the emergence of a specific performance, the formation of a specific repertoire.