Musical and theatrical activities in a preschool educational organization

MAGAZINE Preschooler.RF

Daniya Zulkaramovna Galimova, Music Director of MBDOU – combined kindergarten No. 8.

As you know, musical and aesthetic education of children is one of the most important tasks for the harmonious development of personality. But education will be productive only if all the creative capabilities of a small person and all types of musical activities available to preschool age are used. And first of all, this is a theatrical activity. The success of musical education depends on how interesting the work on the musical and aesthetic development of children is structured.

Most educational programs provide a combination of various types of musical activities, including theatrical performances. It has a great influence on the development of a child’s creative abilities, fantasy, imagination, intelligence, artistry, communicative relationships are formed, and a friendly attitude towards each other is cultivated.

In the process of theatrical games, integrated education of children occurs: they learn expressive reading, plastic movement, singing, and playing musical instruments. A creative atmosphere is created that helps each child to reveal himself as an individual, to use his own capabilities and abilities.

In our kindergarten, great attention is paid to theatricalization. By participating in theatrical games, children get acquainted with the world around them through images, colors, and sounds. The versatile influence of theatrical games on a child’s personality allows them to be used as a strong but unobtrusive pedagogical tool, because the child feels relaxed and free during the game.

Theatrical games help create a joyful, relaxed atmosphere.

Dramatization games occupy a special place. Here the child plays himself, using his own means of expression - intonation, facial expressions, pantomime.

We begin introducing theatrical games in music classes from the first junior group. Some character always comes to visit the kids: a cat, a dog, a cockerel, etc. We make sure to greet him and come up with a name for him. Learning onomatopoeia with different intonations. We play out all the songs and chants with dolls and other toys.

In younger groups, we form in children the simplest figurative and expressive skills (the ability to imitate the characteristic movements of fairy-tale animals): birds fly, peck grains; bunnies jumping and dancing; horses are galloping and others. The whole activity is based on some kind of plot. Children themselves drive toys, dance with them, learn onomatopoeia, giving their voice the appropriate timbre. Each child tries to show himself, thereby developing facial expressions, plasticity, clear speech and correct intonation. (Photo 1).

At an older age, children actively participate in theatrical games and dramatizations. This type of activity gives children the opportunity to show creativity and imagination. Children themselves look for expressive techniques to create a game image: they come up with characteristic movements of the characters, facial expressions, different intonations, and gestures.

Since theatricalization is closely interconnected with the main types of musical activity, the need to systematize it in a single pedagogical process is obvious.

Let's consider innovative forms and methods in various types of musical activities.

1. To perceive music we use the method of active listening.

Active perception is listening to a piece of music and simultaneous transmission of the characteristic features of the musical-playing image by different types of musical creativity.

One of the main pedagogical means of activating musical perception is theatricalization, the playing out (intonation-speech and figurative-plastic) of a musical image by the teacher and children.

We pay great attention to the independent selection of movements in accordance with the nature of the music, the ability to respond emotionally to music, we develop children’s speech and their imagination.

Singing. Chanting.

To master singing skills, we use Alla Evtodieva’s wonderful songs, which are based on dialogues between different fairy tale characters. Chanting is designed for conscious voicing of the voices of heroes of familiar fairy tales, which involves singing in a medium and high voice. This role-playing singing, acting out theatrical and musical sketches with the help of voice, facial expressions and gestures effectively and qualitatively improves the effectiveness of these gaming exercises, allows children to quickly and successfully master the technique of pure intonation, artistry in singing, and contributes to the development of both vocal and theatrical abilities of the child .

Such playful chanting is multifunctional:

1. Thanks to the game situation, it develops children's imaginative imagination, children's conscious understanding of the correct choice of voice (low or high) in connection with voicing familiar characters.
2. Develops diction, articulation, breathing in singing.
3. Develops children's creative abilities, develops theatrical skills, since play singing involves acting out theatrical sketches using various facial expressions and gestures of the characters, and singing in roles.
4. Playful singing can smoothly transition into musical play - dramatization, dance, repetition and consolidation of musical-rhythmic movements, playing music.

Finger games are very helpful in work. The value of finger games in the context of the development of children's musicality lies in the fact that they represent the first experiences of performing artistry.

Working on texts with gesture drawings also helps to activate abstract and figurative-associative thinking. Finger games are original and interesting because they represent a miniature theater where the actors are fingers.

Finger games:

• develop the muscular system, fine motor skills, tactile sensitivity;
• “anticipate” consciousness, its reactivity (due to the rapidity of changes in movements);
• increase the overall level of organization of the child;
• aimed at developing a sense of rhythm, diction motor skills, expressive speech intonation, and coordination of movements.

We begin work on finger games from a very early preschool age, using texts that are short in length and simple in content and accessible to children.

In older preschool age, finger games become more complex, gestures

become the most symbolic, as a result of which the games turn into real finger-speech theater. (Appendix 1. Photo 2, 3).

Speech games allow children to master all the expressive means of music. Speech music-making is necessary, since musical hearing develops in close connection with speech hearing. In speech games, the text is sung or rhythmically recited in a choir, solo or duet. The basis is children's folklore. Musical instruments, sounding gestures, movement, sonorous or coloristic means are added to the sound. In addition, the formation of speech in humans occurs with the participation of gestures, which can accompany, decorate or even replace words. Plastic art introduces pantomimic and theatrical possibilities into speech music-making. The use of speech games in music classes and theater classes effectively influences the development of emotional expressiveness of children's speech and motor activity. (Appendix 2).

In our work we use non-traditional forms of developing musicality. These are rhythmic declamation and melodeclamation.

Melody recitation - reading poetry or text accompanied by music and singing part of the text.

Rhythmic declamation is a synthesis of music and poetry. It can be defined as a musical pedagogical model in which the text is not sung, but rhythmically recited.

The main goal of rhythmic declamation is, first of all, the development of musical and poetic hearing, sense of words, and imagination. The main rule of rhythmic declamation: every word, every syllable, sound is reproduced meaningfully, with the performer’s sincere attitude towards the sounding speech. The same text can be colored with different emotions, because... attitudes towards the same character or event can change in different ways.

Rhythmic declamation is a speech game that involves creative freedom in the intonation and rhythmic execution of the text. Depending on the goals and objectives set, almost any model can be “developed” to the level of a “theatrical production” , in which recitation, dance, singing, playing instruments, pantomime, improvisation, etc. can be combined in a variety of ratios, and can also be supplemented artistically - visual activities. Such forms are born gradually, sometimes unexpectedly, in the process of working on a model; children really like them and help them express themselves in a new situation, take a different look at already known things, enrich children’s artistic impressions, and contribute to the development of imagination and the ability to improvise.

The use of these technologies and methodological forms in practice allows us to achieve the main goal: creating an atmosphere of joyful communication, high spirits and a harmonious sense of self at music classes and holidays.

Thus, theatrical games in music classes make it possible to solve many pedagogical problems related to the formation of the expressiveness of a child’s speech, intellectual and artistic-aesthetic education.

Theatrical activity is an inexhaustible source of development of feelings, experiences, emotional discoveries, and a way to become familiar with spiritual wealth. As a result, the child learns about the world with his mind and heart, expressing his attitude towards good and evil; learns the joy associated with overcoming communication difficulties and self-doubt.

With skillful pedagogical guidance and a variety of themes, means of representation, and emotionality, theatrical games make it possible to use them for the purpose of comprehensive education and personal development. (photo 4,5, 6).

Bibliography:

1. E.A. Antipova Theatrical activities in kindergarten: Games, exercises, scenarios. 2nd ed., revised. – M.: TC Sfera, 2009;
2. O.A. Arsenevskaya System of musical and recreational work in kindergarten: classes, games, exercises. – Volgograd: Teacher, 2011.
3. T.A. Borovik “Methods for developing children’s musicality” ; magazine “Musical Director No. 1-6 2004”
4. A.A. Evtodieva Learning to sing and dance while playing: a methodological and practical guide to teaching singing and movements in a playful way. – Kaluga, 2007.
5. O.V. Katser Game method of teaching children to sing: Textbook. Benefit. – 2nd ed., add. – St. Petersburg: Publishing house “Musical palette” , 2008.

Annex 1

Finger fairy tale "Mitten"

(author O. Arsenevskaya)

From behind the forest, from behind the mountains, children slap their palms as Grandfather Egor stomps. On the knees. He was in a hurry to get home - They show the other side of the mitten and dropped it. palms with the thumb extended upward - the “Mitten” .

The mouse ran across the field, “Running” with the fingers of one hand on the other hand. I saw the mitten. Gesture "Mitten" . - Who, who lives here? They knock with their right fist on their left palm. Is no one waiting for the mouse here? They wag their fingers.

She began to live and live, to sing songs loudly. Claps. A bunny ran across the field, Gesture “Bunny” . I saw the mitten. Gesture "Mitten" .

- Who, who lives here? They knock with their right fist on their left palm. Does he sing a song loudly? Claps. The mouse invited the bunny, calling him, gesturing with his right hand. She gave me some sweet tea. Stretch your arms forward, cup your palms.

The bunny jumped, the bunny hopped, baked some delicious pies. “Bake” pies. Like a fox walking across a field, soft movements with her hands. I saw a mitten. Gesture "Mitten" .

- Who, who lives here? They knock with their right fist on their left palm. Does he sing a song loudly? Claps. And the fox was invited, Soft movements of the hands. They treated us to pies. “Bake” pies.

I began to live there and sweep the floor with a broom. Hand movements left and right. The bear was walking across the field, knocking on his knees with his fists. I saw the mitten. Gesture "Mitten" .

- Who, who lives here? They knock with their right fist on their left palm. Does he sing a song loudly? Claps. The animals got scared, squeeze your fingers into a “lock” . They ran away in fear. Spread your arms to the sides.

Appendix 2:

Speech games with musical instruments

(author O. Arsenevskaya)

Matryoshka and Parsley.

Here come the funny nesting dolls Knock Knock! They brought us painted spoons. Knock Knock!

We played on spoons. Knock-knock! Knock knock! Our spoons began to dance. Knock-knock! Knock-Knock!

Here comes our friend, Petrushka, Tren-tren. He brought rattles for the guys, rattle, rattle.

The rattles rang - Ring-tink-tink! Stretch, grind, grind! They sang a loud song - Tren-di, tren-di, tren-di-tren!

Knock-knock, knock-knock, Knock-knock-knock-di-knock! It will be fun to play with our orchestra all day long!

Shur-shur-song In the silence the rustling little creatures rustle: Shur-shur, shur-shur, shur-shur. They look like little mice.

Shur-shur, shur-shur, shur-shur. Children play on “rustles” - plumes with paper or plastic strips. And somewhere a purring cat is sleeping. Mur-mur, pur-pur, pur-mur. In his sleep he sings a song:

- Mur-pur, pur-pur, pur-pur. Children play on triangles. Shur-shur! Purr purr! Shur-shur! Purr purr!

Merry orchestra. "Boom Boom! Tram-there-there!” — The drum began to beat. “Too-too-too!” —

The spoons began to play. “Beads, rosaries ,” the rattles are rattling. “Ding-dong, ding-dong!” —

The metallophone rang. “Ban-ban balalal!” - The triangle sounded! “Bumba-boomba!” —

The rumba thundered! And now we need everyone to play together.

The influence of musical and theatrical activities on the development of creative abilities of preschool children

 The article is devoted to the problem of the influence of musical and theatrical activities on the development of creative abilities of preschool children. Identification and development of the creative potential of each child’s personality is one of the priorities of modern pedagogy.

Key words: theatrical activity, creativity, creative abilities.

Properly carried out musical development is always associated with the improvement of many qualities and properties of the child’s personality. The main task of musical education of children is the development of an aesthetic attitude to life and art, characterized by emotional responsiveness, developed perception, evaluative attitude, and creative activity.

Music is one of the brightest means of aesthetic education. It solves many problems in a child’s educational process: it corrects character, fosters concentration and instills a sense of beauty. The role of music is enormous in the moral education of children. It helps to brightly express your emotions, express your love for your home, nature, and loved ones [5, p. 416].

Musical education shapes a person’s spiritual needs, his moral ideas, intelligence, develops ideological and emotional perception and aesthetic assessment of life phenomena. It develops the ability to perceive music through various forms of musical activity, the purpose of which is to develop a person’s musical abilities, cultivate emotional responsiveness to music, understand and deeply experience its content, i.e., the formation of a person’s musical culture.

Domestic psychologists and teachers consider creativity as the intrinsic value of a child and his personal quality, as a natural activity and necessary for the development of the abilities of every preschooler (L. A. Wenger, N. A. Vetlugina, L. S. Vygotsky, A. V. Zaporozhets, D. B. Kabalevsky, B. M. Teplov, etc.) [1, p. 24].

The relevance of this topic comes from the fact that at the present stage, comprehensively developed individuals are needed, and for this it is necessary to create conditions for the development of each individual, his interests, abilities and, of course, creative self-expression in each type of activity. Theater can give a child all this. In kindergartens, dramatization games are not given due attention; this type of game is very often passed over without understanding its importance.

In recent years, the attention of researchers to studying the problem of children's creativity in theatrical activities has increased (I. G. Andreeva, M. B. Zatsepina, E. A. Medvedeva, L. S. Furmina, O. V. Solntseva, etc.). The problem of developing children's creativity is little studied, complex and complex. Modern approaches to its study are characterized by the desire of researchers to find effective ways to develop creativity in the context of children’s theatrical activities [3, p. 54].

Children's creativity is one of the pressing problems of preschool pedagogy and child psychology. It was studied by L. S. Vygotsky, A. N. Leontiev, L. I. Venger, N. A. Vetlugina, B. M. Teplov, O. M. Dyachenko, A. I. Volkov and many others [4, With. 65].

Theatrical activity is the most common type of children's creativity. It is close and understandable to the child, it lies deep in his nature. From the point of view of a humanistic position, all children are gifted, and the teacher’s task is to reveal the talent of each child, give him the opportunity to believe in himself, and feel his success. Entering the character, children play any role, trying to imitate what they saw and what interested them. From this they receive great emotional pleasure [4, p. 66].

Theatrical activities help the child develop his interests and abilities, promote general development, the manifestation of curiosity, the development of associative thinking, the manifestation of general intelligence, and emotions when playing roles. In addition, they require determination and hard work from the child, which contributes to the formation of strong-willed character traits. Frequent performances on stage in front of audiences increase children's self-esteem. Exercises for the development of speech, breathing and voice improve the child’s speech apparatus. Performing game tasks in the images of animals and characters from fairy tales helps to better master your body, realize the plastic possibilities of movements, contribute to the development of coordination and the development of general motor skills [4, p. 67].

Fairy tales serve as the first lesson of morality and ethics for children. In them, good always triumphs over evil. This sets the child up for an optimistic perception of life, develops positive character traits and social behavior skills. Work on the theatricalization of a fairy tale contributes to the development and correction of all mental cognitive processes.

Theatricalization of fairy tales requires a large amount of preliminary work. Musical, visual, and constructive activities are the components of theatrical games. At each stage, the tasks for theatrical activities become more complex; children stage more complex works as they develop.

According to S. N. Tomchikova, the theatrical activity of preschool children is a specific type of artistic and creative activity, during which its participants master the available means of performing arts, and, according to the chosen role, participate in the preparation and performance of various types of theatrical performances, and become familiar with theatrical culture [ 2, p. 96].

Including a child in children's theatrical activities creates enormous opportunities for the development of his creativity, namely:

 ensures the integrity and depth of impact due to the syncretic nature of this phenomenon, including rhythmic, musical, verbal influences, as well as the impact of the playing space, enhanced by the effect of group activity;

 allows you to create a situation of improvisational action, which gives children a high degree of freedom of expression;

 ensures that the situation is non-judgmental, which allows each child to more fully and adequately express their own feelings, without fear of evaluation and comparison;

 provides a high level of involvement in the ongoing action;

 creates a situation of forced success, promotes creative self-expression, allowing everyone to feel themselves as a successful subject of activity;

 creates an atmosphere of collective aesthetic experience, which is a significant factor of success, providing a favorable emotional background.

Theatricalization is the core of my work; I use elements of theatricalization in classes, entertainment, and holidays, starting with the younger group. Kids happily depict the habits of animals in small scenes, imitating their movements and voices.

With age, the tasks of theatrical activities become more complicated; children stage short fairy tales and poetic works. I always involve teachers in theatrical performances, who gladly take on the roles of fairy tale heroes. I involve parents in the preparation of performances, thereby trying to bring the family closer to the life of children in kindergarten. Joint activities between adults and children create mutual interest in theatrical activities.

Children's theatrical activities include several sections: the basics of puppeteering, acting, play creativity, imitation of musical instruments, children's song and dance creativity, holding holidays and entertainment.

With kids, I pay great attention to the reflection of fairy-tale images of animals, analyze the nature of movement, intonation: a large and small bird is flying, happy and sad hares, snowflakes are spinning, falling to the ground. I use psycho-gymnastics exercises: it’s raining, the wind is blowing, the sun is shining, there’s a cloud. I offer children toys, attributes for mummery, emblems of animals for acting out “Turnip”, “Pockmarked Hen”, I ensure that children convey the mood, change their facial expressions, I work individually with children, I encourage children’s participation in performances, the desire to play a role. Children learn to correctly name theatrical equipment, treat it with care, navigate the space of the hall, and follow the development of the action.

Using musical and theatrical games in working with children, I am based on the statement of the Russian psychologist L. S. Vygotsky: “We should not forget that the basic law of children's creativity is that they create, create, exercise creative imagination and its embodiment "

While doing theater with children, I set a goal - to make the life of my students interesting and meaningful, to fill it with vivid impressions, interesting activities, and the joy of creativity. I try to ensure that children can use the skills acquired in theatrical games in everyday life.

Thus, we can say that musical theater, in comparison with other forms of art, has a special power of influence on the viewer, including the youngest. It is known that musical and theatrical activities can be considered as a simulation of people’s life experiences, as a powerful psychotraining that develops its participants holistically, namely emotionally, intellectually, spiritually and physically. As mentioned above, it is in the conditions of the game that the ability to interact with people, find a way out in various situations, and the ability to make choices is trained. However, the musical and pedagogical value of theatricalization will manifest itself under certain conditions, when the goal of organizing a children's theater is not to show a performance (or work for prestige), but rather to educate children, develop their moral, strong-willed, and creative personality traits. This work is aimed at these important, complex goals and objectives, which are not achieved immediately, but require a long time and painstaking work.

Literature:

1. Akulova O. Theatrical games // Preschool education, - 2005. - No. 4. - p. 24.
2. Wenger L. A. Pedagogy of abilities. - M.: Knowledge, 1973. - p. 96.
3. Vygotsky L. S. Imagination and creativity in childhood. - M.: Education, 1991. - p. 54.
4. Komarova T. S. Preschool age: problems of development of artistic and creative abilities // Preschool education. - 2008. - No. 10. - p. 65–67.
5. Kulikova S. A., Kozlova T. A. Preschool pedagogy. - M.: Academy, 2002. - p. 416.

MUSICAL THEATRALIZATION AS THE MAIN ARTISTIC EXPERIENCE OF CHILDREN IN A MODERN SCHOOL

The publication was prepared as part of the state task 2015/Р9

Why are theater classes so important for a child? Because subjects aimed at the artistic and aesthetic development of a child in the learning process force us to include all the child’s perception systems. Classes in the subject “Musical Theater” help to include the child’s sensory systems more effectively in the learning process. V. Aucklander in his work “Windows into the Child’s World” points out that through vision, hearing, touch, taste and smell we become aware of ourselves and come into contact with the world. Subsequently, we begin to act mechanically, moving away from emotions. Reason displaces emotions, but reason is just one of the components of our being that must be developed in a child and used to its fullest. Let's try to leave the mind and return to the feelings. By developing one of the child’s sensory systems, the teacher seems to turn off the other. We draw and sculpt, in silence and silently listen to music, with our hands folded on the desk, experimenting with extracting noise effects, sounds without conveying our feelings. N. Basina and O. Suslova argue that music is visible and invisible. Music generates movement, and the child’s nature instantly responds to the impulses coming from it. A child is able to touch, see, hear music, since a piece of music is abstract, but very sensual. The child is more open to the perception of music, color, and words. In his hands, all this strives to overcome its immateriality and be embodied, take on flesh, become visible, alive. S. Kozhokhina describes in her work “Journey to the World of Art” about positive experiences in classes with primary schoolchildren on the development of taste skills and forms of smell. For a child, smell and taste can be expressed by color, certain lines, sounds and choreographic improvisations. Many teachers use associative drawing, plastic fantasies, and noise impromptu. This is the basis of relaxation and meditation in psychotherapeutic practice. Associative ad libs can be used for testing and as an adjunct to diagnostic tracking. Each theater lesson includes a training block, a rehearsal block and creative improvisation as a type of individual test survey. During classes there are two relaxation breaks. These are collective choreographic mini-blocks that are aimed at changing the type of activity and exchanging information. At the end of the lesson, review and group discussion. The lesson is divided into several stages: Psychological mood - adaptation. Musical and playful greeting. Checking homework. Conversation, presentation, attitude to master new material. Cognitive block. Journey to the land of "Theatre". Training block. Getting to know new material. Musical pause. Creative search, active development of new material, trial and experiment to create a new image. Practical block. Rehearsal moment. Discussion, viewing, collective discovery of a single image. Demonstration block. Relaxation break Musical and choreographic break. Identification of creative and emotional activity. Discussion of individual and collective homework. Block test - end of lesson. Each of the blocks: cognitive, educational, practical, demonstration, block test contains a large amount of illustrative material. These are household items, media display of excerpts from musical and theatrical performances, acquaintance with works of art, acquaintance with the life and traditions of the native land, history and culture of different peoples. Musical breaks are a psycho-emotional rest for children on the themes of their favorite musical works from past classes, which returns as a refrain to past topics. The rehearsal moment is the most favorite part of the lesson, where children feel like creators and individuals. A creative search for the character of the portrayed hero, trying himself in the role of an artist, costume designer, musician in a noise orchestra, or actor raises the child to a new social level. He feels more needed, significant, mature, useful. Theater-based education has a main advantage over other forms of education and types of extracurricular activities, because it is completely built on the creative search of the teacher and the child, and then on the creation of a theatrical product. In classes on the subject “Musical Theater”, schoolchildren of the Georgievsk Gymnasium in the city of Yegoryevsk develop both the collective nature of singing in general and as the most accessible form of exposure to beauty, thanks to the presence of a special musical instrument “voice” in each person. The most active and entertaining form of introducing students to the arts at school is the integration of vocal training with theater in the form of staging school musicals. Working on the musical turned out to be very exciting and interesting for teachers, children of all ages and parents. That is why it was decided to engage in this work with children from the first grade. To achieve this goal, the extracurricular activity program “Children's Musical Theater” was chosen. Theatrical activities for children are a special world; let us remember an excerpt from a conversation between Konstantin Sergeevich Stanislavsky and Natalya Ilyinichna Sats: “Have you ever thought how good it would be to start creating a children's theater from childhood? After all, every child has the instinct to play with transformation. This passion for reincarnation in many children sometimes causes bewilderment even among us, professional artists. There is something in pedagogy that kills this childish courage of initiative, and only then, having become adults, some of them begin to look for themselves on stage. But if we eliminate this gap, if we unite talented children in a children’s theater in the prime of their childhood creativity and from then on develop their natural aspirations - imagine what a celebration of creativity can be achieved by their mature years, what unity of aspirations.” To work with children with the support of the staff of the integration laboratory of the Federal State Budgetary Institution IOCiK RAO Nekrasova L.M. and Komleva V.V., teacher of the Georgievsk gymnasium Basova I.S., created a program for the theatrical development of children. The educational area of ​​the Children's Musical Theater program is art. New educational standards place higher demands on participants in the educational process. One of the most important pedagogical tasks is to increase the general cultural level of students, as well as the formation of aesthetic taste and the need for spiritual culture. Introduction to art helps to develop a child’s beliefs and spiritual needs, shaping his artistic taste. Since artistic experience is always a subjective, personal experience, the student must not only assimilate, learn, and remember this or that information, but also process, evaluate, and express his attitude towards it. That is, to understand art, mastering a certain set of skills is not enough; knowledge of art is possible with the help of the language that art itself speaks. One of the forms of actively introducing children to the world of art is children's musical theater as a form of additional education. The theatrical form assumes support and close relationship with the aesthetic cycle of school subjects; allows you to fully realize the child’s creative potential; contributes to the development of a whole range of skills, active perception of different types of art. Education through the means of theater involves the development of a full perception of art, an understanding of the language of art and its specificity. N.P. Kuraptsev and L.G Surin write about this in their work “Our Friend the Theater.” The development of sensory perception, fantasy, emotions, and thoughts in the process of the influence of art on a person occurs through the holistic experience and comprehension of life phenomena in art. Through this holistic experience, art shapes the personality as a whole, embracing the entire spiritual world of a person. By participating in theatrical performances, children gain irreplaceable creative experience. During the work, various exercises are used that help children master such communication skills as establishing contact with each other, the ability to interact with peers, giving in and restraining their impulses, choosing a partner for joint activities, performing certain specified actions, and achieving expressiveness on stage. During the rehearsal period, children learn to purposefully remember and reproduce words, concepts, monologues, the skill of establishing semantic connections between objects appears, the volume of memory and attention expands, and verbal memory is constantly developing. Working with musical works, singing, and participating in a noise orchestra stimulate interaction, increase the level of attention, contribute to the emergence of feelings, and the birth of new images. Plastic arts and choreography enable the child to actively express himself non-verbally, realize his individuality, and reveal often hidden creative possibilities. The creative laboratory is the basis of the lesson in the subject “Musical Theater” because it brings out something unique in each child. The expression of a child's individuality manifests itself as a creative act. E.A. Yakovleva points out: “Creativity is nothing more than a person’s realization of his own individuality. Depending on in what area and by what means this presentation is carried out, we can talk about specific types of creativity. A child is a social being; his unique individuality must be expressed and presented to other people.” The lesson uses the method of identifying oneself with what the child is drawing, sounding the image and bringing it to life in movement. Children experience difficulties, but do not give up. The search goes on again and again until success comes, the approval of the teacher and peers and the child’s self-satisfaction. Children often reinforce their subsequent sensations with drawings. The subject “Musical Theater” is a world of fairy tales and fantasy, a world of wonderful transformations for a child, therefore the entire teaching methodology should be built on moments of impromptu emotional and audience accents. The teacher himself must be a creator and force children to create. What could be more amazing than the sounds of music and more magical than a performance in a theater? But this is an academic subject, and the teacher has certain tasks and educational goals - to introduce children to both theater and musical theater genres. But the most important thing is to explain to the child what creativity is, to teach children to create, to make creativity as necessary for children as air, and the experience gained as a life compass. Theater combines all the arts, children can try themselves in different types of creativity. And it is the teacher who takes on the mission of discovering what is new for the child and what is new in the child. The earlier a child’s giftedness is revealed, the more clear to the teacher the individual creative route of development and the general direction of the educational process. There are many gifted children, even more talented ones, but they are not noticed, not involved, not understood, not fully developed. The main component of musical theater is theatrical acting. Theatrical games are of particular importance; they are simultaneously in the sphere of education and upbringing. The themes and content of these games usually reflect understandable, close to children phenomena of the surrounding reality, reveal the habits, character, familiar images of animals, birds, children themselves and their actions. Play is the closest form of activity for preschoolers and primary schoolchildren. Theatricalization and music determine the development of the game, deepen the images, and create the appropriate mood. Improvising in class, the child plays and moves actively, listens to music, and gets involved in search activities. The availability of game images, interest in the game, the emotional story of the teacher before the task, as a kind of methodological technique, expressive musical illustrations and theatrical sketches allow children to give their individual shades in the performance of theatrical roles. Various games for identifying images and searching for the characters of objects familiar to children are especially widely used. . Games in various types and variants are carried out at all stages of work on the preparation and creation of a creative product. At a more advanced stage of the child’s imaginative development, the game stimulates the child’s necessary voluntary improvisational action. Non-plot games may not have a specific theme, but in such games there are elements of chants, dancing, catching, competition, building and rebuilding games with objects and toys. This is very useful in finding the character of the hero. This creates the necessary brightness of the game. This fascination with the playful way helps to further develop children's creativity and ability. The expressiveness of children's movement, soloing and recitation depends on the emotional coloring of the plot given by the teacher. When introducing children to a new story game, search task or sketch, the teacher must first interest the children, tell the content, and characterize the images. It is necessary to constantly direct children's attention to the perception of the work as a whole and changes in the assessment of the character of the hero. The Musical Theater program introduces a child to the world of theater and teaches him acting skills. This program was tested at the Georgievsk Gymnasium in Yegoryevsk and at the Galeas Early Development Lyceum. When drawing up any program, you need to take into account that children and parents are committed to long-term learning. This is a comprehensive educational process for children and adults, aimed at gaining new knowledge, skills and creative experience. The program must be mobile and modular, capable of including additional sections and new methods. Much attention should be paid to relaxation breaks, finishing relaxations, art therapy, individual educational routes, steps, creative and experimental levels. Any creative activities must begin with play, with the child’s most natural state, which will help to make contact, determine the necessary comfortable climate, and help captivate children. In the theater classes of the subject “Musical Theater”, children get acquainted with drama theater and musical theater, learn about the professions involved in the theater, try to decide what they would like to do - try themselves as an actor or participate in an orchestra, do lighting or decorations. As a result of pedagogical observation, questioning, and talent test diagnostics, three groups of children are identified: • children with normal age-related artistic development; • creatively active children with developed artistic abilities; • gifted children. For each group, the teacher selects creative tasks in order to enhance the creative activity of children. Next, step-by-step tasks are combined into a single route to solve educational problems, the result of which is a musical performance. Classes, a rehearsal period in the subject “Musical Theater”, game tasks during classes, creative homework completed by children help the teacher to consider the grain of creative talent in each child and to reveal his talent. A theatrical musical performance is a way to diagnose the creative level of children’s development and determine indicators on a scale of giftedness. The rehearsal period and musical performance is a way to test and build indicators of the scale of talent and giftedness of the creative growth of the child and the teacher. This is a way to involve parents and adults in the educational process and participate in creative competitions for adults together with children, one of which is the creative development of adults and independent participation in competitions and shows for the creation of theatrical costumes, scenery, and makeup. Participation in the “Grandma’s Chest” and “Forgotten Object” competitions is especially popular among children and adults. In the process of a teacher’s work to create a creative product, subjects of the artistic and aesthetic cycle are integrated at the level of interdisciplinary connections, which make it possible to form in unity the content, operational and motivational components of educational activity. The spirituality of the individual, the child’s creative abilities, and the ability to see and create beauty develop. Thus, a harmonious, versatile personality is nurtured, its creative potential and general cultural outlook are developed, capable of actively perceiving art. The following tasks for the development of the child are carried out: • a holistic understanding of art is formed; skills of creative activity are formed; • ideas about general and special concepts for different types of art are expanding; • skills and abilities are developed in the field of acting, vocal and choral performance; • continuing to work on improving the level of performing skills: be able to apply the acquired knowledge in practice. Educational tasks are performed: • contributes to the education of artistic and aesthetic taste, interest in art; • Develop the ability to actively perceive art. The implementation of development tasks: • creation of conditions for the realization of creative abilities; • memory develops, arbitrary attention, creative thinking and imagination; • individual creative abilities are identified and developed; • The ability to independently develop artistic values ​​is formed. Training in the subject "Musical Theater" is carried out according to the following principles: - unity of emotional and conscious; - Complex education and development of students. • The leading methodological technique in the classroom is the method of artistic improvisation. All classes combine two main activities: a conversation about the specifics of theatrical art (this is a viewing of reproductions, paintings, photos and videos, with the help of which children form an idea of ​​the theater as a form of art, the features of the theater) and the game, plot - role -playing games). In a playful way, acquaintance with new types of activities, acquiring the skills of creative actions. (For example, the game “Funny cap” lies in the fact that children choose a cap, under which there is some kind of task: sing a song, read a poem, depict an object, animal, animal, Play on muses. Tools, dance dance, etc.). This enables the child to “tell” about himself, get acquainted, teach action in the team. The main method of developing creative abilities has been chosen by improvisation: • choreographic improvisation (spontaneous dance - performance, composition of dance compositions on a given musical theme); imitation of movements (through the plasticity of the body to convey any image); Theatricalization (staging of individual episodes), improvisation on a given topic (creative tasks, sketches for the development of creative imagination); • instrumental improvisation; • Improvisation of the support of a musical work with sounding movements (pops, tributaries). Classes of stage literacy begin with the education of the ability to organize, silently, taking into account the presence of partners to be distributed on the stage. The word on the stage should sound clearly, clearly convey the thought, to be emotionally saturated - this dictates the corresponding work on the word: technology and logic of speech, practical mastery of the verbal action. In the classroom, exercises for the development of articulation, diction (speaker games, tongue twisters, pure twists are), games and exercises for speech breathing (charging for the lips, tongue), as well as breathing gymnastics are necessarily included. The exercises for the development of intonational expressiveness of speech (tasks to recite the poetic text on behalf of different fairy -tale heroes, to recite to music, rhythmodecklamatia. Be sure to include reading and playing fragments of fairy tales; sounding fairy tales that children can make at home. Much attention is paid vocal -Khor work (exercises for the development of singing breathing and voice, musical games, work with a song repertoire, work on expressiveness of performance), as well as listening to a musical work and creating its plastic image (musical-rhythmic exercises), learning dance compositions with playing out the text of songs staging songs. After performing the main tasks, younger schoolchildren need a relaxation - a pause. With great pleasure, children perform exercises to achieve muscle freedom, with the help of which they acquire the skills of proper stage behavior; they are very fond of funny musical physical education, where dance movements show animated heroes for them . The main test task for the teacher and children is a theatrical performance. When working on the performance of the performance, it is advisable to divide the participants into the following groups: - soloists: this group includes children with a fairly high level of development of musical abilities, as well as children with vocal data or the prospect of their development; - Acting group: the main characters on the stage; - Dance group: Children with good plastic capabilities are a children's noise orchestra: children may include children who, for various reasons, require a longer period of mastering a stage letter. All these small groups are mobile, during the following productions, children can be transferred from one group to another. Huge attention and effective help to the creative process include the family of participants, friends and adults. Attraction of parents to the creative process for the production with children of costumes and decorations is one of the ways to bring the family and school closer. Classes of the music theater are not perceived as traditional lessons, for them it is a holiday, the opportunity to show their abilities, engage in creativity, smile, laugh, joke. Thanks to a relaxed atmosphere prevailing in the classroom, children get a charge of a great mood and are ready to create the beautiful again and again. During the work, performances were prepared - musicals on the fairy tale of the Grimm “Cinderella”, N. Nosov “Dunno”, A.S. Pushkin “The Tale of the Fisherman and the Fish”, A. Filatov “About Fedot Sagittarius, the Young Udalts”, I. Basov “We are the children of the Galaxy”, “Lilac Victory”. So theatrical performances are born, children receive creative development and gifted children are revealed. The subject "Musical Theater" was introduced into the additional education of the St. George Gymnasium in Yegoryevsk. New techniques based on the theater allow you to more flexibly unload and in a new way to organize a oversaturated educational space at school. Thus, one of the tasks to change the oversaturated education of a child’s primary school is solved. New theater forms and types of classes with younger students are being developed. The training material uses methods for obtaining creative skills of theatrical professions. Children and adults receive invaluable creative experience. The potential of world musical, visual and theatrical art is most fully revealed and used.

LITERATURE

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