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Department of Education and Youth Policy Administration

Gorodetsky district

CREATIVE WORK

Subject: "DEVELOPMENT OF EXPRESSIVE SPEECH IN CHILDREN OF THE OLDER PRESCHOOL AGE THROUGH THEATER GAMES".

COMPLETED:

educator

MDOU kindergarten No. 29

Zharkova E.A. Secondary special education

Work experience in this

Positions 2 years

Gorodets

2010

Plan:

1. The relevance of the problem of development of expressiveness of speech in children p.

senior preschool age through theatrical games. 3

1. Goals and objectives. 7
2. The system of work on the development of expressiveness of speech in older children

preschool age through theatrical games. eight

1. Findings. 20
2. Bibliography. 22
3. Appendix. 23

1. The relevance of the problem of development of expressiveness of speech of children of senior preschool age.

Mastering the native language, speech development is one of the most important acquisitions of the child in preschool childhood and is considered in modern preschool education as common ground upbringing and education of children. Working with the children of my group, I was faced with the fact that their speech is not expressive enough. Most children, when talking about the events of their lives, do not use expressive means. Therefore, for in-depth work, I chose the topic "Development of expressiveness of speech in children of senior preschool age through theatrical games."

The expressiveness of speech ensures the adequacy of the transfer of information and efficiency speech communication with others, thereby contributing to the effectiveness of interaction. The development of speech that can express an emotional attitude to what is being said and have an emotional impact on the interlocutor, consciously using expressive means, requires a great culture. Over the development of such expressive speech in which emotionality does not break through, but is expressed in accordance with the conscious intentions of the narrator, careful work is needed.

It is at the age of five to seven that many children show an interest in the expressive means of speech and literary language, children begin to notice literary means of expression, make the first attempts to consciously use them in their own speech.The task of the teacher is to satisfy this need, to promote the development of expressive speech in the child by assigning them means of expressiveness.

For the development of the expressive side of speech, it is necessary to create such conditions in which each child could express his emotions, feelings, desires and views, not only in ordinary conversation, but also in public, without being embarrassed by the presence of outsiders. The habit of expressive public speech can be cultivated in a person only by involving him from childhood in speaking to an audience. Theatrical classes in preschool educational institutions can be of great help in this. They always delight children and enjoy their unchanging love.

Analysis methodological literature shows that when developing theatrical and gaming activities, scientists and practitioners pay special attention to the development children's creativity. At present, work with children on theatrical activities has received scientific justification and methodological study. The theater not only brings joy to children, but also develops imagination and fantasy, contributes to the development of the child and the formation of the basis of his personal culture.

Unfortunately, at present, in the practice of preschool educational institutions, theatrical activities are not given due attention. This is due to the general workload of teachers and a misunderstanding of the importance of theatrical activities for the development of a preschool child.

Playing a role, the child can not only imagine, but also emotionally experience the actions of his character. Aesthetic experiences help the child experience admiration for those manifestations of life that he had not noticed before, and convey them through movements, gestures, facial expressions and other means of expression. In addition, thanks to the scenery, costumes, children have great opportunities to create an image using color, shape, and design.The formation of the expressiveness of speech, possession of the means of speech expressiveness involves the ability to use the height and power of the voice, the pace and rhythm of speech, pauses, various intonations.

Theatrical games of children contribute to the activation different parties their speech - vocabulary, grammatical structure, dialogue, monologue, improving the sound side of speech, as well as developing the ability to convey their emotions using expressive means. It should be noted, however, that intense speech development serves as an independent theatrical and gaming activity. It includes not only the action of children with puppet characters or own actions by roles, but also by artistic and speech activity (choosing a topic, conveying familiar content, composing, performing songs on behalf of characters, staging them, dancing, singing, and so on).In intonations, in emphasizing individual words, pauses, facial expressions, expression of the eyes in a change in the strength and tempo of the voice, emotionality is manifested.

In the process of purposeful learning, expressive speech is formed in children. It is characterized by such qualities: medium pace, rhythm, moderate strength and average height vote. They can act as constant, habitual qualities that determine the overall individuality of speech. At the same time, the tempo of speech and the quality of the voice must be mobile and flexible enough to express individual states and feelings, that is, one must be able to speak in a whisper, and loudly, and slowly, and quickly, etc. Attention to these aspects of speech is required at all age stages. It is necessary to teach children to coordinate the strength of their voice with the surrounding conditions, to protect it: this has a great pedagogical and hygienic meaning.

The theater plays a special role in solving problems related to the upbringing and development of the child. Improving speech is closely related to mental development. In the process of working on the expressiveness of the characters’ replicas, their own statements, the child’s vocabulary is imperceptibly activated, sound culture his speech, her intonation. The role played, the spoken remarks put the baby in front of the need to speak clearly, clearly, understandably. He improves dialogic speech, its grammatical structure.

In older preschool age, in connection with the emergence of self-esteem, the child begins to evaluate himself, his actions. First of all, his self-criticism is aimed at assessing the results that he has to demonstrate to others. And although the senior preschooler's value judgments about himself are most often overestimated, even a slight dissatisfaction with himself greatly upsets him and causes self-doubt. That is why, unlike toddlers, older preschoolers often get lost when performing.

In most cases, teachers use the old information-explanatory and reproductive methods, built on the mechanical reproduction of intonations, gestures, movements, facial expressions and copying after the teacher to develop children in theatrical activities. This contributes to the development in children of the need to use "recipes" for solving certain problems. life situations. Children do not look for ways to solve a creative problem, but only apply familiar schemes. Therefore, many children are indifferent to the fulfillment of the tasks of the teacher, since the image of the hero does not affect their feelings, does not cause feelings. In this regard, I used other methods for developing the expressiveness of the speech of preschool children.

For the development of children's own expressiveness, it is necessary to create conditions for the development of children's creative games. When organizing holidays, dramatizations and other similar performances, children acquire the skills to use expressive means, but only independent activity can help them use them in Everyday life. Theatrical games play a huge role in this. Children learn not only to fantasize and reincarnate, but also to act actively on their own behalf, they were able to find a visible image that corresponded to his plan.

2. Goals and objectives

Target: To promote the development of the expressiveness of children's speech through theatrical games.

Tasks:

1. Expand and systematize children's knowledge of various means of expression;

1. Expand children's knowledge about various types theaters, to involve in the manufacture of characters from waste material;
2. To develop creative independence in the transfer of the image, the expressiveness of verbal means;
3. Contribute to the emancipation of children, going beyond familiar plots, developing the artistic abilities of children;
4. Improve collective action and interactions;
5. To instill in children a sense of empathy, sympathy, the ability to vividly imagine and convey events in games real life.

3. The system of work on the development of expressiveness of speech in children of senior preschool age through theatrical games.

Work on the formation of expressiveness of speech was carried out in the following areas:

1. Identification of the level of mastery of expressive means;
2. Creation of a subject-developing environment;
3. Development and implementation in practice of a long-term plan for working with children and parents on this issue;
4. Results tracking.

In the process of conducting classes in preparation for theatrical activities in their group and during the dramatization of fragments of fairy tales and poems, the skills and abilities of children were revealed. Thanks to this, it was determined that many children in the group could learn the text that the hero spoke. But the children did not have the ability to display the character of the hero of the dramatization with facial expressions, gestures and intonation. In general, the constraint of children's movements, shyness was noticed. There are only a few people who are more relaxed in front of the audience. These are Masha B., Nastya M., Dasha S.. Nevertheless, the desire to engage in theatrical activities arose in most children.

Before starting work on the development of expressiveness of speech in children of senior preschool age through theatrical games, I determined at what level the children of my group were and chose specific ways to implement the material.

In order to most accurately identify the skills of using expressive means, I conducted the following didactic games:

Didactic game

“Where we were, we will not say, but what we did, we will show.”

The aim of the game was identification of children's skills to use non-verbal means of expression, in the transfer of characteristic features of the intended action.

During the game, the children chose the driver with the help of a counting rhyme (children's choice). The driver independently came up with an action that would show the players.

Children: Where have you been? What did you do?

Driver: - Where I was, I will not say, but what I did - I will show.

The driver showed certain action, the children guessed it. Having guessed, they chose a new driver. The game continued. At the end of the game, the children chose a peer who was better able to fulfill the rules of the game (that is, most accurately convey the features of the planned action), and explained their choice.

Didactic game "Tell me differently"

The purpose of the game I planned identifying children's ability to convey intonation characteristics heroes of familiar fairy tales.

During the game I offered the children a choice of illustrations for fairy tales: "Three Bears", "Zayushkina's hut", "Teremok", "Sister Alyonushka and brother Ivanushka". The driver was asked to choose the picture he liked, but not to show it to the other children. Then he had to say a line from the fairy tale so that the other players guessed the hero and understood what kind of fairy tale it was. Then a new leader was chosen. The game continued. At the end of the game, the children chose the best storyteller and explained their choice. Before the game (as a previous work), a conversation was held with the children on the content of fairy tales to clarify the characters of the characters.

Didactic game "Magic bag".

The aim of the game was revealing the ability of children to combine verbal and non-verbal means of expression, while conveying the characteristic features of a particular object. That is, the ability to convey the characteristics of animals and their cubs not only with the help of intonation, facial expressions, but also gestures and postures.

During the game children also chose the driver with the help of a counting rhyme (at the choice of children). The task of the facilitator was to select an object in the bag by touch and depict it in a way of imitation (duck - waddling, wings folded behind her back, quacking; kitten - walking on four legs, washing herself, calling her mother-cat, a hen calling her chickens, etc. .). The rest of the children guessed who the driver was showing. Whoever guesses first and explains his answer (This is a duck, since Yegor folded his arms back - these are wings, walks like a duck and quacks), becomes the leader. At the end of the game, the children choose the player who most accurately conveyed the characteristic features of this or that animal, explain their choice (Masha showed the cat mother best of all, because she called the kittens to her in a strict voice).

When summing up the results obtained in the process of conducting didactic games, the following means of expression were taken into account:

• clear articulation of sounds;
• tempo, rhythm, melody of speech;
• correct placement of stress in a sentence;
• logic and appropriateness of use.

An analysis of the results of the games conducted showed that children did not develop the ability to use expressive means in independent activity. Thus, I conditionally divided the group of children into subgroups with different levels of development. The results of the study are given in Appendix No. 2.

I began my work on the development of expressiveness of speech with the preparation of a subject-developing environment. For this, various types of theaters were made and introduced:

• theater based on the fairy tale "Bubble, straw and bast shoes" (made together with children from natural material);
• theater on a flannelograph based on the Russian folk tale "Geese - Swans";
• cards - schemes for articulation gymnastics, mirrors for its implementation;
• cube theater based on the Russian folk tale "Kolobok"
• theater with bibabo puppets "Tell a story";
• bag theater on a stick "Think up a fairy tale";
• box theater "Fox - sister and gray wolf";
• attributes to the fairy tales "Zhiharka", "Fox with a rolling pin";
• various items and attributes for creative games.

In the group, a place was allocated for placement of pictograms of emotional

human condition. A mirror was placed nearby for exercises in expressing emotions. Fairy tales and illustrations for them were exhibited in the book corner, in accordance with the program. The exhibitions corresponded to the topics of the classes.

To solve the tasks, I used various forms of work in my work. To achieve the best result in the development of individual means of expression, I have been given great attention exercises, sketches and theatrical games.

In the theatrical game “Gray Bunnies are Sitting”, based on a poem by V. Antonova, I suggested that the children “move” to the autumn forest, admire its beauty, highlight the characteristic features of the fir trees (the needles did not fall off, they remained green). Children, pretending to go to the forest, became more relaxed, noticed the features of the forest landscape. For example, Polina "saw" a porcini mushroom behind the bushes, but did not pick it, but left it to the squirrels. And Ilya, making his way through the forest thicket, stumbled upon a clearing where large sweet lingonberries grew. Talking about the environment, we gradually switched to animals. “But who can be found in the autumn forest? Neither animals nor birds are visible (the children argued on the topic: where is everyone?). See who is sitting under the bush? I drew the children's attention to a little bunny sitting under a bush (behind a screen). For greater interest, the role of the bunny was played by Yulia B., prepared in advance. “It’s scary for him alone in the autumn forest. Bare branches without leaves do not hide the hare well. Suddenly, from behind a tubercle, like a flame, the red tail of a fox shot up and disappeared. After some time, a fox appeared (the role of the fox was played by Ksyusha, also prepared in advance). She slowly walks around the trees, looks under the stumps and listens. Fortunately, without noticing the bunny, the fox goes on.” Then, I read a poem to the children, involving Ksyusha and Yulia in the show, and invited the children to play it all together.During the game, I reminded the children about the feelings, the mood of the hero (a frightened bunny) in this situation. With questions, advice, I encouraged children to use one or another means of motor expression, drew attention to play behavior, action in concert with partners, a vivid image of the role, using the movements of the arms, head, torso, facial expressions.To make it easier for the children to reincarnate, at the first play they were asked to put on hats of hares (foxes). All the children took turns playing the role of the fox. After the “return” from the forest, the children and I discussed who did it better, who liked what. The children judged each other on the basis of their own experience.

So that children could not only portray characters, but also voice them, I conducted etudes and exercises. Children, for example, love breathing exercises. They were always interested in working with me, inventing something of their own. For example, Yegor, during the exercise "Warm - cold air", suddenly opened his mouth wide and pretended to be frightened; to my question: “What happened?” answered: “A snowflake flew into my mouth.” But the role of breathing exercises is not only to captivate or interest children, but also to develop the right speech breathing, which contributes to the development of fluency of speech (children stumble less, do not “grab” air while telling).

It should also be noted articulation exercises. They contribute to the development of clarity of sound pronunciation, which is also one of the components of speech expressiveness. In addition, performing exercises in front of a mirror, children get rid of shyness, shyness. I received a good emotional response from children by doing finger gymnastics (“Once upon a time there was a grandmother”, “Trees”, “Lanterns”). At first they were attracted by the novelty of some exercises, then by actions with me, but the main thing is that I managed to achieve independence in the use of finger games in the free activities of children. For example, on a walk, playing the s / r game "Kindergarten", Polina did finger gymnastics with a subgroup of children (pupils). This was the first step towards their emancipation.

When solving the problem of developing creativity in conveying an image, as well as developing the ability to use various means of expression, I selected exercises for the development of imagination and facial expressions. Everyone knows that children love to make faces, and if the teacher does this with them ... If you say that children like it, it means to say nothing. In addition, in these games, I did not show the children how to depict this or that object (action), which contributed to the development of children's creative independence.

Do not forget about relaxation exercises (relaxation). They not only contribute to the development of the ability to relax muscles, but also to use this ability to convey the features of an object. Unfortunately, not all children succeeded. For example, Lena could well mimic sadness or joy, even surprise was given to her quite simply. But she failed to relax and “turn into a withering flower”. I will continue to work according to the planned scheme, paying special attention to this.

Sketches contribute to the enrichment of children with artistic means of conveying the image. At the beginning, I invited the children to depict individual episodes from the read work, for example, to show how the fox built an ice hut, and the hare built a bast one. In the fairy tale, this is said in just one sentence, therefore, the children themselves had to think over the behavior of the characters, their dialogues, remarks, and then lose. In another case, it is proposed to choose any event from a fairy tale, silently play it out.The rest - the audience - guess which episode is presented. Children were also interestedsketches in which they performed movements to fragments musical works. Thanks to such complex game improvisations, children develop artistic abilities, without which a theatrical game is devoid of color and expressiveness.

All games and studies, except for solving specific problems, contributed to the improvement of collective actions and interactions between children, as well as to instilling in them feelings of empathy and sympathy.

When teaching children the means of speech expressiveness, I used familiar and favorite fairy tales, which concentrate the entire set of expressive means of the Russian language and provide the child with the opportunity to naturally get acquainted with the rich linguistic culture of the Russian people. In addition, it is the acting out of fairy tales that makes it possible to teach children to use a variety of expressive means in their combination (speech, chant, facial expressions, pantomime, movements). Children strove for creativity if they did something well: he successfully said the remark of a hare, expressively conveyed grief when the fox kicked him out of the bast hut, etc. Together with the children, we not only talked about the successes achieved, but also turned focus on failure. I did not evaluate the child himself, but only his individual skills. For the rest, it served as a role model, a stimulus for the manifestation of activity.

In order for children to memorize some techniques for using means of expression, I myself showed how to depict or intonation in some situations. In any communication with children, I tried to be emotional, expressive, used poems with a clearly expressed form of dialogue in various activities to involve children in role-playing interaction, drew the attention of children to gestures, intonation, facial expressions.

To achieve the best result, games and etudes were included in various classes as a physical education session, to play with buildings (handicrafts) or create interest, as well as to get acquainted with some literary works. This contributed not only to the expansion of children's knowledge, but also to the development of the ability to use their own crafts in theatrical games.

In addition to developing the skills of children with the help of various exercises and sketches, in my work I paid attention to classes in theatrical activities, as separate form work. To develop the skills of children to combine different types of theaters, I conducted a lesson "Let's play." During the lesson, the children were placed in various problem situations from which they had to find their own way out. Acting in accordance with the task assigned to them, the children used various means of expression. Dasha, Masha, Yegor and Nastya K. did it best of all. Ksyusha coped with the task according to my model, besides, when working with Ksyusha, I did not manage to achieve complete emancipation either at the first lesson or during the next ones. During the lesson, the children showed a good mood and a desire to solve the tasks. The children's enthusiasm was facilitated by the introduction of the "Magic Ball", which cheerfully led them into the world of fairy tales. I would like to mention Ilya. He does not always use certain expressive means correctly, but he has a very strongly developed sense of empathy, both for the heroes of the fairy tale and for the children who portray them. Polina and Nastya B. did not always have enough perseverance and patience so that, having waited for their turn, they could begin to act. Yulia, on the contrary, lacked activity and initiative. To reduce the likelihood of such problems in the next lessons, I paid more attention to these children in the process of working on studies.

To expand the children's skills to expressively tell fairy tales (separate plots of them) or convey the characteristic features of individual characters, they had to be introduced to the basics of acting. For this purpose, a lesson on ecology "Meeting with the Dwarf Wizard" was held. Children always believe in magic and want to become wizards themselves. Therefore, in order to interest children and explain in an accessible form what acting is, I dressed up as a magician. During the lesson, the children were very active and completed all the tasks that they were given by a dwarf named Wizard. During the articulatory gymnastics, I encouraged the children to perform the movements correctly, paying attention to their peers, using reminders (on behalf of the gnome), my own show. The breathing exercise was not difficult for the children, since we did similar exercises in our free time. To activate the children in the lesson, I involved them in showing the finger game "Trees" in front of their peers. Julia was prepared for this in advance. All movements were shown correctly, however, Yulia lacked looseness, the movements were short and uncertain. Next was organized ecological game with elements of improvisation "Seeds". Children were divided into two subgroups: snowflakes and seeds. Later, depending on the change of season, a subgroup of “snowflakes” first covered the seeds, then turned into streams, then depicted insects flying over flowers, then birds (at the end of summer they peck seeds from plants, spread them through the forest, in autumn they fly away like a wedge South). The “seeds” had no easier task - they slept under the snow all winter, woke up in the spring, gradually grew, gained strength, then (in summer) they had buds, flowers, at the end of summer the flowers fade, and boxes with seeds appear in their place . The task of the children was to fulfill their role as interestingly as possible. Most of the children did very well with this task. There was a noticeable smoothness in movements, a variety of transfer of features of the conceived characters. Ilya portrayed calmness in facial expressions, and Yegor decided to use severity. The girls tried to convey all the beauty of summer flowers through swaying their arms and whole body, and also depicted the buds with their hands. Polina even hummed a little to the beat of her swaying. In general, it can be said that the children became more relaxed, began to actively use familiar means of expression when conveying the features of a particular object.

To develop the ability of children to use intonational expressiveness when telling, I planned and conducted a lesson on the development of speech with elements of theatrical activity “How the fox offended the bull”. The name of the fairy tale greatly surprised the children, but in the process of getting acquainted with the fairy tale, the children had a variety of feelings. Dasha condemned the fox for offensive words, and Polina, on the contrary, the bull: “You can’t call names, you should have answered the fox differently, and she would have apologized.” To show children the need to use expressiveness when telling, the first time I read the fairy tale without expression, and the second time with a pronounced intonational coloring. The children, of course, chose the second option for their story. After a conversation on the content of the tale, the children in pairs retold its content. After listening to two pairs of children, I offered to stage a fairy tale.

To achieve the best result in staging a scene based on a fairy tale, the following guys were prepared in advance: Fox - Masha B .; Goby - Nastya B.; Fox mother - Lena. Masha and Nastya coped well with the task, using not only intonation, but also gestures and facial expressions in their remarks. But Lena was a little confused and did not quite correctly use intonation, although her facial expressions correctly depicted a strict and calm mother fox. Dasha came to her aid and uttered the replica of the mother fox as she saw fit. Children chose who more accurately conveyed the feature of the character. In the process of retelling, I also encouraged the children to use the previously mastered means of expression. It was easier for children to retell the plot, as they saw the scene and retell not only on the basis of auditory perception, but also on the basis of a visual example. In general, it can be said from the lesson that the children had a desire to speak expressively, using both intonational expressiveness and posture, facial expressions and gestures.

It is important that it is in theatrical activities that children have the opportunity to expand their initiative and independence in choosing the character of their hero (or even the whole performance). Due to the fact that the content of the activity is expanding (based on their creativity), children have a desire to use expressive means in everyday life or, conversely, use real life events in their creative games.

In parallel with the work carried out with children, work was also carried out with parents. To familiarize parents with the basics of theatrical activities of children, a subgroup consultation "Children and the theater" (Appendix No. 10), a survey "Intonational expressiveness of children's speech" (Appendix No. 11) was conducted. Parents were told about the performances, games and sketches held with their children, they were asked to repeat them at home. Children and parents were asked to jointly perform the proposed games (etudes) at home. Parents were interested in the proposed work and enjoyed playing with their children in their free time at home. For example, N.F. Emelina (mother of Polina E.) made for the group a theater based on the fairy tale by G. Kh. Andersen "The King's Dress", as well as "Forest Academy".

To identify the effectiveness of the work done, the children were offered the same tasks as in identifying the level of knowledge and skills in using expressive means. In general, children have become better, emotionally - more expressive in telling fairy tales; build detailed answers to questions on the content of a familiar fairy tale and compose your own. In the speech of children, an increase in expressiveness, both emotional and intonational, is noticeable. Also, children began to actively use gestures, facial expressions, various body movements to convey the necessary image not only in games, but also in free activities.

More detailed results of the work are given in Appendix No. 5.

4. Conclusions.

The work carried out on the development of the expressiveness of children's speech as a whole gave good results. The children became more active, learned to improvise, make their own suggestions when transferring the voices of characters (the frog not only croaks, but also speaks in a trembling voice), as well as convey the value of the hero in his voice (for example, in the fairy tales "Masha and the Bears", "Three Little Pigs" they independently changed the pitch and timbre of the voice, depending on the size of each character).

The work was carried out sequentially. On the basis of already familiar literary works, we played small scenes with the children, during which the children became liberated, got rid of shyness. This was also facilitated by various exercises (articulation, mimic, pantomimic) and etudes. In the course of the exercises, the children began to use familiar means of expression more actively.

In joint activities, the children became more friendly, learned not to interrupt each other, to evaluate not the child himself (I liked it, because he is my friend), but his actions (I liked it, because he beautifully portrayed, accurately conveyed the character ...). In the dramatizations, the vocabulary of children became more active, expanded vocabulary. Thanks to facial and pantomimic exercises, many children learned not only to convey the features of an object with intonation, but also showed its mood with facial expressions and gestures.

Theatrical games played a certain role in working with children. In the process of organizing games, I noticed that the children began to communicate with each other more emotionally. They tried to fulfill the assignment as clearly and expressively as possible. In the course of games, children developed both intonational means of expression (such as melody, tempo, rhythm of speech), and motor, that is, non-verbal (poses, facial expressions, gestures). Children have a desire to play creative games more often (“Think up a fairy tale”, “Revive the word”, etc.). They united, and on the basis of existing knowledge, they came up with new stories together. In the course of such games, children became more accurate in the choice of expressive means, some children developed the appropriateness of their use. For example, Nastya K. did not always use facial expressions correctly, confusing sadness and calmness. As a result of the work done, she learned how to correctly convey the mood of the hero with facial expressions.

As a result of the work I have done, the children have mastered only some means of expression. This work will be continued in accordance with the long-term plan (Appendix No. 4).

5. Bibliography

1. Alekseeva M.M., Yashina V.I. Speech development methodology and training

mother tongue preschoolers. M., 1997.

1. Antipina E.A., Theatrical activity in kindergarten. M., 2009.
2. Artemova L.V., Theatrical games for preschoolers. M., 1991.
3. Belaya A.E., Miryasova V.I., Finger games. M., 2002.
4. Gubanova N.F., Theatrical activity of preschoolers. M., 2007.
5. Makhaneva M.D., Theatrical classes in kindergarten. M., 2001.
6. Makhaneva M., Theatrical activity of preschoolers.

//Preschool education. 1999. No. 11.

1. The program of education and training in kindergarten. / Edited by

M.Vasilyeva, T.Komarova, V.Gerbova. M., 2005.

1. Appendix.

Application No. 1.

List of children.

1. Belova Nastya 4 years 11 months
2. Belyakova Julia 5 years 1 month
3. Buzina Masha 5 years 1 month
4. Egorkin Egor 5 years 1 month
5. Emelina Polina 5 years 5 months
6. Ivanova Ksyusha 5 years 3 months
7. Krasnoyarov Ilya 5 years 2 months
8. Kudryashova Nastya 5 years 2 months
9. Sirotkina Lena 5 years 2 months
10. Sutyagina Dasha 5 years 6 months

Application number 2.

The level of children's mastery of means of expression.

means of expression	Nastya B.	Julia B.	Masha B.	Egor E.	Polina E.	Ksyusha Iv.	Ilya K.	Nastya K.	Lena S.	Dasha S.
Verbal:
Clear articulation.
Intonation: Pace Rhythm Melodika stress
Dictionary Activity
Nonverbal:
Gestures
Pose
facial expressions
Consistency of use
Appropriateness of use

Application number 3.

The level of development of expressiveness of speech	Surname, name of the child	Percentage
Tall	_____
Average	Belova Nastya Buzina Masha Egorkin Egor Emelina Polina Ivanova Ksyusha Kudryashova Nastya Sirotkina Lena Sutyagina Dasha
Short	Belyakova Julia Krasnoyarov Ilya

Annex No. 4.

Perspective plan for 2010-2011 academic year.

September

Target: Expand ideas about different types of puppet theaters: finger, table, bibabo, theater from junk material, flannelograph, cube, jar.

• Class "Let's play";
• Exercises:

• Respiratory "Blow out the candle";
• For relaxation : "Heavy vase", "Fade flower";
• Articulatory"Happy tongue".

• Games:

• Finger "There lived - there was a grandmother."
• For the development of facial expressions"Present".
• For the development of the imagination"You show, we'll find out."
• Theatrical"Grey bunnies are sitting"

• Etudes: The fox and the hare are building their huts.
• Fairy tale dramatization"Fox with a rolling pin", "Teremok".

Working with parents: Questioning.

October

Target: Learn the basics of acting. Learn to portray emotional condition character, using expressive movements and intonation.

• Class:
• Exercises:

• On the breath : "Autumn leaves";
• For relaxation: "Ball";
• Articulating:"Swing", "Clock".

• Games:

• Finger: "Trees".
• For the development of facial expressions:“Teremok is standing in the field”
• On the development of the imagination: "Relive the object."
• Theatrical:"Goat-dereza".

• Etudes: "Theatrical warm-up", "Hedgehogs".
• Pantomimes: “Talking on the phone”, “Cooking porridge (lunch)”.

November

Target: Develop imagination. Continue work on familiarization with Russian folklore. To learn to invent and beat new plots using characters and objects known from Russian folk tales.

• Class: "How the fox offended the bull."
• Exercises:

• On the breath : "Warm - cold air"
• For relaxation : "Conversation through the glass."
• Articulating:"Smile", "Swing".

• Games:

• Finger: "Lanterns"
• For the development of facial expressions:"Lemon".
• For the development of the imagination:"Make up a story."
• Theatrical:"The Adventures of Kolobok".

• Etude: "Make up a story."

• Folklore holiday:"Without cabbage, the table is empty."

Working with parents:Consultation on the topic: "Children and the theater."

December

Target: Develop intonation expressiveness of speech and plasticity of movements.

• Etudes: “Snowflakes”, “What makes winter sad”.
• Dramatizations: "The pranks of Emelya, Kikimora, Barmaley and Baba Yaga", "Meeting with the Snow Maiden and Santa Claus."
• Entertainment: "New Year's adventures near the Christmas tree."

January

Target: Continue to acquaint with folk traditions, holidays, folklore, games. Give an idea about the Russian farce theater and its characters (Petrushka, Marfushka, Doctor, Dog, and so on). Develop the skills of monologue and dialogic speech.

• Exercise for the development of diction:"Songs on the stairs".
• Games: "Water", "Where the bell rings", "Merry tambourine", "Catch-up".
• Learning and playing ditties, teasers, riddles, carols.
• Holiday: "In the Russian Upper Room".
• Dramatization: "Winter and children."
• Folklore holidays: "Epiphany fortune-telling", "Christmas time".

Working with parents:Consultation on the topic: "Conditions for the development of children in theatrical activities in the family."

February

Target: To teach children to get used to the created image, to accompany the actions with replicas of characters.

• Lessons on acquaintance with the work of S. Ya. Marshak.
• Exercises:

• For development auditory attention : “Who called?”, “What was missing?”;
• On the development of phonemic hearingand "Words-shifters";
• On the development of diction"Songs on the stairs";
• On the development of facial expressions and plasticity of movements: "At the mirror", "Picture the mood"

• Etudes: “There are two chickens on the street”, “Meeting”.
• Dramatization game:"The Tale of the Silly Mouse", S. Ya. Marshak.

March

Target: Maintain the desire to actively participate in the holidays. Improve your ability to improvise.

• Exercises:

• For the development of diction: "Say the word."

• Games: "Playful icicles", "Carry in a spoon."
• Playing poems and songs.
• Etudes: "Joy", "The happiest", "Unexpected meeting".
• Pantomimes: "Musician", " Telephone conversation"," Conductor.
• folklore holiday"Gatherings".
• Matinee "Mother's Day".

April

Target: Continue to introduce the basics of acting. Learn to convey the mood of the character with intonation and gestures. Develop diction and skills of monologue and dialogic speech. Introduce children to shadow theater.

• Class "Education Lessons"
• Exercises:

• On the breath "Exhale through the corner of the mouth", "Divers".
• For relaxation "Cat", "String".

• Games:

• Finger: “We bake pancakes”, “House”, “Bridge”.
• For the development of speech:“Good-bad”, “Polite words”, “It’s good to be like that”, “It’s not good to be like that”.

• Learning tongue twisters and tongue twisters.
• Etudes: "Greetings", "Yes - no."
• dramatization poems by V. V. Mayakovsky “What is good and what is bad?”.
• Shadow theater: "Teremok".

May

Target: Learn to select expressive means (attributes, elements of costume and make-up), use facial expressions, plasticity of movements, intonation, helping to create images. Learn to interact with your partner.

• Reading and acting outfairy tales by E. Permyak "The Golden Nail".
• Exercises:

• Breathing: "Petushki";
• For relaxation : "Strongmen", "The Nutcracker";
• Articulatory: "Hide and Seek", "Smile", "Tube".

• Games:

• Finger: “Palm - fist - rib”, “Forty - white-sided”, “The hostess once came from the market”
• Movable: "Golden Gate", "Burn, burn brightly."

• Etudes: “Mom went to the market”, “Like our Vanya”, “Depict the mood with facial expressions”.
• Pantomimes: “Chop wood”, “Blacksmiths”, “Horse”.
• playing out Russian folk songs.
• Dramatization gamebased on the fairy tale by E. Permyak "The Golden Nail".

Appendix 5

The results of work with children on the development of expressiveness of speech.

means of expression	Nastya B.	Julia B.	Masha B.	Egor E.	Polina E.	Ksyusha Iv.	Ilya K.	Nastya K.	Lena S.	Dasha S.
Verbal:
Clear articulation.
Intonation: Pace Rhythm Melodika stress
Dictionary Activity
Nonverbal:
Gestures
Pose
facial expressions
Consistency of use
Appropriateness of use

Appendix No. 6.

Types of theatrical games.

All theatrical games are divided into two main groups: director's games and dramatization games.

Directed games includetabletop theatrical games. They include:

Table toy theater.This theater uses a wide variety of toys - factory and homemade, from natural and any other material. Here, fantasy is not limited, the main thing is that toys and crafts stand steadily on the table and do not interfere with movement.

Desktop picture theatre.All characters and decorations are pictures (it is necessary to make them double-sided, since turns are inevitable, and in order for the figures not to fall, supports are needed, which can be very diverse, but must be sufficiently stable).

Actions of toys and pictures in the table theater are limited. But they should not be lifted and carried from place to place. It is important to imitate desired movement: running, jumping, walking and at the same time pronounce the text. The state of the character, his mood is conveyed by the intonation of the presenter - joyful, sad, plaintive.

Characters before the start of the game is best hidden. Their appearance in the course of action creates an element of surprise, arouses the interest of children.

In order to create an idea of ​​the scene, it is necessary to use scenery elements: two or three trees - this is a forest, green cloth or paper on the table - a lawn, a blue ribbon - a stream, and so on. But you don't have to spend a lot of time on these.preparations, it is better to involve children in them, to teach them to fantasize,come up with new original details for the scenery - and then everyone will become interested.

AT poster theatrical games includes:

Book stand. Dynamics, the sequence of events is easy to depict with the help of successive illustrations. For games like traveling, it is convenient to use a stand-book. If you fix the background on the bottom of the board, on the top of the board, the children will be able to place the transport on which the trip will take place. In the course of the trip, the presenter, turning over the sheets of the stand-book, demonstrates various plots depicting events, meetings that take place on the way. It is also possible to illustrate episodes from the life of a kindergarten, if each page depicts a new regime process.

Flannelgraph. Pictures are good to show on the screen. They are held together by flannel, which covers the screen and the reverse side of the picture. Instead of flannel, pieces of sandpaper or velvet paper can also be glued onto the pictures. Drawings are selected together with the children from old books, magazines, and the missing ones can be completed. It makes the kids happy. Natural materials are also used.

Screens of various shapes allow you to create "live" pictures that are convenient to show to the whole group of children. On prism screens, all the guys can work in pairs at the same time during classes. The scenes on the screens are different, and children will be able to see the variety of options for depicting the same topic.

This kind of game makes it easy to depict crowd scenes.

Shadow theater. Here you need a screen made of translucent paper, expressively carved black plane characters and a bright light source behind them, thanks to which the characters cast shadows on the screen. Very interesting images are obtained with the help of children's fingers, this causes delight and genuine interest in children.

To show a scene with several characters at the same time,

a bar is installed at the bottom of the screen, on which you can strengthen the figure.For example, the grandfather pulls the turnip first. The figure is fixed on the bar and then the headstock is displayed, etc. The figures are placed near the screen so that the shadows are clear. The teacher (leader) is located below or to the side of the screen so that his shadow does not fall on the screen.Shadow theater is good to use during leisure hours.

Participating in games dramatizations, the child, as it were, enters the image, reincarnates into it, lives its life. This is perhaps the most difficult performance, as it does not rely on any particular pattern.

An attribute is a sign of a character that symbolizes its typical properties. For example, a characteristic mask of an animal cut out of paper (a hat, an apron, a kokoshnik, a wreath, a belt, etc.) is put on by the child. He must create the image himself with the help of intonation, facial expressions, gestures, movements, or other familiar means of expression.

It is not always necessary to reproduce the full costume of the hero. After consulting with the children, which sign of the character is most typical, you can make an emblem by which everyone immediately recognizes the depicted hero. It is necessary to pay attention to the guys that the main thing is how they perform their roles - it looks like it or not. At the same time, one should not demand great accuracy of performance, there is no need to spoil the mood of children during the game. The skill will come gradually - after repeatedly playing the role and observing peers.

Games - dramatization with fingers.The child puts attributes on his fingers, but, as in dramatization, he himself acts for the character whose image is on his hand. In the course of the action, the child moves one or all of his fingers, pronouncing the text, moving his hand behind the screen. You can do without a screen and depict actions, moving freely around the room.

Finger theater is good when you need to show several characters at the same time. For example, in the fairy tale "Turnip" new characters appear one after another. Such a performance can show one

child with his fingers. Fairy tales "A goat and seven kids",

"Twelve Months", "Geese Swans" and others with many characters can show two or three children who are located behind the screen. Showing such fairy tales with mass scenes is possible thanks to finger attributes. This contributes not only to the development of expressiveness and figurativeness of speech, but also brings children together, teaches them to act together, together.

Dramatization game with bibabo dolls.In these games, a doll is put on the fingers of the hand. The movement of her head, arms, torso is carried out with the help of the movement of fingers, hands.

Bibabo dolls usually act on a screen behind which the drivers are hiding. But when the game is familiar or the puppets are driven by the children themselves, i.e. the moment of mystery has disappeared, then the drivers can go out to the audience, communicate with them, give them something, take someone by the hand, involve them in the game, etc. Such an “exposing” does not reduce, but rather raises the activity and interest of the guys .

The teacher's demonstration of the methods of action with bibabo dolls arouses children's interest and desire to learn how to drive dolls themselves.If the doll is large for a child's hand, then two fingers can be inserted into the head instead of one. To achieve the best result, it is necessary to make costumes for dolls, according to the size of the child's hand, so that the children's fingers fit into the chucks of the hands. For this, well-preserved parts from old broken dolls and soft toys will come in handy. But the costumes and make-up of the doll must match the desired role. Showing the children how the puppet should move, how to drive it along the screen, allows you to expand and enrich the experience of children in theatrical activities.

Dramatization games with riding puppets.Riding puppets include those that the puppeteer controls from below because of the screen, and the viewer does not see him. Cane puppets are horseback and are controlled by a special mechanism with the help of canes. The basis of the reed doll is gapit - a wooden rod that serves as the backbone of the doll. A shoulder frame is installed on the gapite. The body and head of the doll are controlled by the hand of the child, who / holds the gapit. The hands of the doll are set in motion by a secondchild's hand using wire canes. The canes are attached to the hands of the doll.

Puppet theater with a "live hand".bright expressive possibilities possesses a very simple doll with a "living hand", which consists of a wooden rod-neck and a papier-mâché head. On a groove cut around the neck, a freely hanging suit is held. Instead of the hands of the doll - the hands of the puppeteer in colored gloves.

Puppet Theatre.Puppets are usually called puppets controlled from above, most often with the help of threads. The puppets are set in motion with the help of a wag. Vaga - a wooden cross, to which a doll is hung on strings.

Doll people. Puppet people are floor puppets. The child puts on a huge head-mask, large palms, healthy shoes and turns into a living doll. The head, palms, boots are made of foam rubber. So that the child inside the doll can breathe and see, the doll's mouth is made ajar at the level of the child's eyes. Improvisation - acting out a theme, plot without prior preparation is perhaps the most difficult, but also the most interesting game. All previous types of theater are being prepared for it. And yet, the children will be at a loss if the teacher invites them to play this or that scene. It is necessary to prepare them for this - come up with a theme together, discuss how to portray it, how the roles will be distributed, highlight characteristic episodes.

Summing up the classification of games, we can say that they all require directing and pronunciation of lines.

Annex No. 7.

Examples of theatrical games.

Theatrical game "Gray Bunnies are sitting", based on a poem by V. Antonova.

Purpose: To promote the emancipation of children in the game using theatrical attributes, overcoming stiffness, shyness in front of the audience.

The teacher says: “Autumn has come, colorful leaves fall from the trees and lie on the ground with a fragrant rustling carpet. Only the Christmas tree has not changed at all: its dark green needles still shine. The forest seems deserted: neither animals nor birds are visible. Some left him, others hid, hid, prepared for a long winter. But if you and I were in the forest, we would definitely meet (What do you think, whom? Answers of the children). Look, a bunny is sitting under the autumn bush. It's scary for him alone in the autumn forest. Bare branches without leaves do not hide the hare well. Suddenly, from behind a tubercle, like a flame, the red tail of a fox shot up and disappeared. After a while, a fox appeared. She slowly walks around the trees, looks under the stumps and listens. Fortunately, not noticing the bunny, the fox goes on.

And if the bunny was not alone, but with other hares? And if they were sitting under a Christmas tree that would cover them with its fluffy branches? Then things would be different." Then the teacher expressively reads the poem, after which he is interested in whether the children liked it. After receiving a positive response, he offers to act out the poem in roles in front of the audience.

Then you should clarify what roles the children would like to play. The teacher approves their choice and expresses confidence that the young actors will perfectly cope with their roles. It is necessary to highlight the features of rabbits (cowardly, but very fast, so they are called runners), as well as foxes (cunning, her movements are smooth, light). We should not forget about the audience (attentively watch the scene, do not interfere with the actors, applaud).

The teacher re-reads the poem, and the children act it out. Then the actors and spectators switch places. The scene is repeated. After that, the overall result of the game is summed up.

Annex No. 8.

Study examples

1. Etude "Hedgehogs"

The teacher asks the children to go to the mirror and imitate the movements characteristic of a hedgehog, accompanying them with onomatopoeia: “puff-puff”.

Disturbing music sounds. The teacher asks to show what hedgehogs do when they are scared, afraid. Children "roll up" into a ball or simply bend their back. The teacher asks the children to guess: what (who) scared the hedgehogs so much? Children offer their own answers.

It sounds like a calm melody. The teacher reports that the danger has passed, and invites the "hedgehogs" to turn around, stretch (to restore breathing - raise and lower their hands three times), then lie down, relax in a forest clearing.

It sounds like dancing. The teacher invites the children to dream up what hedgehogs can do to such music (dance to pick mushrooms, berries, etc.).

The exercise ends with calm music, under which the “hedgehogs” transform into children.

2. Etude "Theatrical warm-up"

One, two, three, four, five,

Do you want to play?

The game is called "Warm-up theatrical".

Then tell me, friends, how can you change yourself?

To be like a fox, or a wolf, or a goat,

Or the prince, the Yaga, or the frog in the pond?

(Exemplary answers of children: costume, makeup, costume attributes)

And without a suit, you can, children,

Turn into, say, the wind?

Or in the rain, or a thunderstorm, or in a butterfly, a wasp?

What will help here, friends? (gestures and, of course, facial expressions)

What is facial expressions, friends?

The expression of our face.

Right, but what about gestures? (It's movements)

There are, no doubt, different moods.

I will call him, try to show him!

The teacher calls, and the children show the mood in facial expressions: sadness, joy, calmness, surprise, grief, fear, delight, horror ...

And now it's time to communicate with gestures, yes, yes!

I tell you a word, in response I expect gestures from you.

The teacher calls, and the children show with gestures: come here, go away, hello, goodbye, quietly, don’t spoil, wait for me, you can’t, leave me alone, I think I understand, no, yes.

Warm-up is over

Everyone has tried now.

And now surprise, guys, I invite you to a fairy tale.

The teacher invites the children to unite in groups and play out familiar tales (at the request of the children).

3. Etude "Think up a fairy tale."

One simple fairy tale, or maybe not a fairy tale,

Or maybe not simple, we want to tell.

I remember her from childhood, and maybe not from childhood,

Maybe I don't remember, but I will!

After reading the poem, the teacher invites the children to come up with their own fairy tale and, using familiar means of expression, tell their peers. Encourage children to form subgroups. At the end of the exercise, the children, together with the teacher, discuss what they did best, highlight the most expressive characters.

The most beautiful fairy tales, beautiful, simple,

Or maybe they showed us not simple ones.

You have tried very hard - and the fairy tales turned out.

Thank you so much I say to all of you!

Appendix No. 9.

Lessons

1. Summary of the lesson on familiarization with fiction.

Theme: "Magic ball".

Target:Exercise in recognizing familiar fairy tales by characters.

Tasks:To teach children to use various means of expression to convey images of fairy-tale characters. Practice conveying emotions based on pictograms. Continue to learn to select words on a given topic. To expand children's knowledge about the different types of theater and their combination.

Develop verbal and non-verbal aspects of speech; contribute to the creation of an emotional mood. Develop fine motor skills.

To cultivate activity, the desire to empathize, rejoice, sympathize.

Preliminary work:

Repetition and consolidation of the content of the fairy tales "The Wolf and the Seven Kids", "Zayushkina's Hut", verbal games for the development of the imagination ("Think up a fairy tale", "Once upon a time there was a boy", etc.), performing etudes for the expression of various emotions ("Say differently”, “Three Bears”, etc.).

Material:

Pictograms “joy”, “sadness”, “surprise”, a chest, a table screen, a ball of thread, a flannelograph theater “The Wolf and the Seven Kids”, a bibabo puppet theater “Zayushkina’s hut”, a screen house; for each child: a table mirror, bright multi-colored handkerchiefs made of light fabric.

Educator - Guys, let's stand together in a circle and play with our fingers. Show your hands:

One, two, three, four, five

Children alternately bend their fingers

We will play together

Extend fingers alternately

We will play together

Clenching and unclenching fists

Let's get into a fairy tale.

They raise their hands up.

Educator - How well our fingers played. And now, I suggest you take a trip to the land of fairy tales. Want to? To do this, we need to complete the following tasks:

1. Listen and repeat the words:

• II walk along the path (logical stress on the first word);
• II walkalong the track (logical stress on the second word);
• II walkalong the track(logical stress on the third word).

36669460. Pronounce words with different intonation:

• They tore off the bear's paw (mournfully);
• The cat is sleeping (calmly);
• I love my grandmother (affectionately).

Educator - Well done, guys, coped with the task. But the following obstacle arose on our way (I pay attention to the pictograms). Look at these little men, are they the same?

Children - Yes (no).

Teacher - What is the difference between them?

Children - Different facial expressions, moods.

Educator - Let's try to portray our mood in front of a mirror? .. Imagine that you received a gift. What do you feel?

Children - Joy, surprise.

Children perform the exercise in front of a mirror.

Educator - Well done, Nastya, and now imagine that instead of a doll they gave you a hammer. What will you feel?

Children - Sadness, chagrin.

Educator - How do you portray this? .. And Yegor was presented with onions instead of sweets. What will you feel?..

Egor - I'm upset.

Educator - How will your face change? .. Now the rest will try to imagine it. Who better to portray grief, sadness? ..

Educator - Well done. Everyone tried to portray their feeling in a special way, so everyone turned out so different and very interesting.

Look, children, what is it? Yes, it's a magic box. It has bright, beautiful, multi-colored handkerchiefs. Now each of you will take a handkerchief and try to depict without words a butterfly, a princess, a grandmother or a baby with a bad tooth of your choice. We will do this in turn: one does, the rest guess. Ilya will be the first to choose. Just don’t tell us what you have in mind ... Guys, what do you think, who did Ilya portray? .. And now Ilya will choose the next driver. . .

Educator - YES, both the actors and the audience did their best, but look at our chest: it is trembling all over, and even bouncing. Let's take a look at it...

A ball of thread "comes to life" in the chest, which shows the children the way to Fairytaleland.

Children follow him with the words:

We walk along the path, quietly raise our legs.

And inaudibly so we go, we will soon get into a fairy tale.

Children approach the flannelgraph, on which there are planar figures of the heroes of the fairy tale "The Wolf and the Seven Kids".

Educator - Guys, who is this?

Children - A goat with kids and a wolf.

Educator - And how can you call them differently, like in a fairy tale?

Children - mother goat, mother, goat - yellow eyes (other variants of children).

- Goatlings, goatlings - kids, small children (other variants of children).

- A wolf-wolf - a gray tail, a wolf - a click with its teeth.

Educator - Well done! And now let's remember how the Goat knocked on the house to the goats?!

Little kids, kids, open up, open up,

Your mother came and brought milk.

Milk flows along the notch, from the notch along the hoof,

From the hoof to the cheese ground.

Educator - Polina, please sing to us a song of the mother goat ... Ksyusha K. will act for the kids with us. If she likes the song, she will open the door of the hut ... And now Dasha S. will try.

Children stand at the flannelograph and take turns singing a song, moving the goat figurine to the house.

Educator - And who else tried to sing this song ?! That's right, Gray Wolf. Egor, now you will be a Wolf, try to sing his song, and we'll see if the kids will open the doors or not ... And now, Nastya K will try.

Educator - Well done, how expressively they told the tale. But look, our ball has begun to spin, probably, it's time for us to get ready on the road.

Educator - We say goodbye to this fairy tale,

We are going on the road.

Roll faster down the track

Don't feel sorry for our legs.

And inaudibly so we go, we will soon get into a fairy tale!

Children come to the table, on which, surrounded by trees, bibabo dolls (Bunny and Fox) "Zayushkina hut" are placed.

Educator - Guys, let's remember what fairy tale these heroes are from ?!

Children - "Zayushkina hut."

Educator - And what characters are found in this fairy tale? ..

Children - Fox, hare, dogs, bear and so on.

Educator - And now Nastya K. and Lena S. Will show us the moment where Chanterelle climbs into Bunny's house. Nastya, what will your Chanterelle be like (sly, funny, scared, sad)? Lena, what will the Bunny be like here?

Children with the help of intonation and movements convey the features of the heroes of the fairy tale:

A fox:He boldly approaches the house, quickly enters it, looks out the window, looks merrily and cunningly to the side.

Bunny:He sits on a stump, his paws are lowered, he cries bitterly, sighs.

Educator - This is how the fox is, it’s immediately clear that it’s cunning, agile: it waves its tail, lifts its head up ... well done Lena. Nastya B. with Ksyusha coped no worse, portraying a bunny.

Educator - Oh, guys, look, here behind the Christmas tree are the costumes of some heroes, who is it?

Children - Fox and Bunny, from the same fairy tale.

Teacher - Let's play it again. Only now we will have real actors - Yulia B. will be the Bunny, and Yegor will be the Chanterelle. And we will play another passage. The one where the Rooster came to the aid of the Bunny. How will the behavior of the characters change? Julia and Yegor will show us this.

A fox:Arms outstretched, running away. Facial expressions: fear, surprise.

Bunny:Position - standing, one leg slightly forward, hands clasped behind the back, chin raised. Facial expressions: proud and confident look towards the Fox.

Educator - These are the skillful actors we have. But our glomerulus is spinning again, probably it's time for us to go further.

We say goodbye to fairy tales, we are going to kindergarten.

Roll, little ball along the path, do not feel sorry for our legs.

Children - We walk along the path, quietly raise our legs.

And inaudibly so we go, we will get to kindergarten!

Children sit on the carpet, the ball "hides" in the chest.

Educator - Our path was far, let's have a rest.

Relaxation.

Our hands are resting, our legs are also resting,

Rest, sleep. The tension has flown away and the whole body is relaxed,

The lips are not tense, parted and warm.

And our obedient tongue is accustomed to being relaxed.

We understand what a state of rest is.

Children perform movements in accordance with the text, breathe easily, evenly, deeply.

Educator - So we returned to kindergarten. And where did we visit today?.. What did we do?.. Who showed the way to the Fairytale Land?.. What heroes of fairy tales did you meet?.. What means of expression did you use to convey the features of the heroes of the fairy tale?.. What did you like best ?

2. Abstract of the lesson on ecology, with elements of theatrical activity.

Subject:"Meeting with the Dwarf Wizard".

Target:To expand children's ideas about the diversity of natural phenomena, the relationships between them.

Tasks:Clarify children's ideas about the living conditions of plants, the dependence of their condition on conditions environment. To consolidate knowledge about plant growth. Develop imagination, the ability to improvise, the plasticity of movements and intonational expressiveness of speech. Develop articulation apparatus, fine motor skills. To cultivate friendly relations, a sense of respect for any natural phenomenon.

Preliminary work:

Conducting word games for the development of imagination, performing studies for the expression of various emotions, learning articulatory gymnastics, talking and looking at illustrations about the seasons.

Material:Dwarf Wizard costume, magic wand, white handkerchiefs for 1/2 group of children, audio recordings of natural phenomena.

Organization and methodology of the lesson.

The teacher, dressed as a gnome, enters the group:

Gnome - Hello, children! I am a gnome. My name is Wizard. I came to you from a fairy-tale kingdom where my friends live - cheerful gnomes. My magic wand helps me to create real miracles.

Dwarf - I will wave my magic wand and you will turn into a clock.

Articulation gymnastics "Clock".

Dwarf - Smile, open your mouth. Your tongue has become a pendulum. Touch it with the tip to the corner of the mouth, and then to the left.

Are you ready to play clock? Like a clock pendulum

We swing the tongue like this: tick-tock, tick-tock.

Dwarf - Guys, you know, in my country it's always summer, that's why I'm so lightly dressed. But while I was walking towards you, for some reason I was very cold. You don't know why?

Children - Because autumn has come (other answers of children).

Gnome - What are you doing? And what is autumn? .. Do you always have only it, or are there any other seasons? .. And which ones? ..

Children - Winter, spring, summer, autumn.

Gnome - How cool! How are they different? .. What do birds do? What about insects? And how does the weather change?… Very interesting!

Gnome - Guys, my magic wand loves to turn children into various objects. Let's see what comes out this time.

Articulation gymnastics "Swing"

Dwarf - That's great, the swing turned out! Open your mouth, hide your tongue behind your lower teeth. Lift it up, touch the tip to the upper teeth, and then lower it down. Up and down, like on a swing.

The children sat on the swing and flew up above the spruce.

The sun touched and returned back.

Gnome - It's great to swing with you, but I still don't understand why the birds fly south?

Children's answers.

Gnome - Thanks, now I understand everything. And tell me, what can we do to make the objects around us (buildings and other buildings, furniture, etc.) delight us with their beauty both in winter and summer? ... Of course, paint them in different colors.

Articulation gymnastics "Painters".

Gnome - Remember what painters do? .. How does he move during work? .. Now, smile, open your mouth, with the tip of your tongue, run back and forth across the upper palate several times.

I got up this morning and did not recognize my city:

Every post and every house was painted by a house painter.

Dwarf - We did a great job, it's time to relax.

Breathing exercise "Syllabic chains".

Dwarf - we inhale deeply with our nose, and as we exhale we say “f - f - f” drawlingly. And now let's complicate the task a little: on the exhale we will say: “faf” ... “faf - fof .. “faf - fof - fuf .. “faf - fof - fuf - fif .. we pull the words as long as possible .. Well done .

Gnome - Now I will turn you into hedgehogs. Say the "f" sound as if you were frightened and then angry. Hedgehogs saw a butterfly and carefully, so as not to frighten off, sniff it. They run and sigh wearily… Well done.

Dwarf - Now it's time to play with my magic wand. Who will she turn us into this time?! (waves her wand) We turn into trees. Your hands are flexible branches, and your fingers are tender leaves.

Finger game "Trees".

There is a tree in the field.

Raise hands above head

The wind stirs the branches.

shaking their hands

Buds swell in spring.

Clench fingers into fists

All leaves opened.

They open their fists, wiggle their fingers.

So that the trees grow, so that they do not dry out,

Trees need roots.

Put your hands down, spread your fingers to the sides.

Why are they important?

Children's answers.

Gnome - You have wonderful trees. Do you know where trees come from?

Children - Grow from seeds (other children's answers).

Gnome - What other plants grow from seeds?

Children - Grass, flowers, bushes (other children's answers).

Gnome - Now let's play.

Ecological game "Magic transformations".

Gnome - Let's split into two groups. (To the first subgroup.) I am turning you into seeds. What flower seeds would you like to become?.. Children's answers. The rest of the children will be snowflakes.

Dwarf - So, all the seeds are on the ground. (Children of the first subgroup sit on the carpet). Winter. Nature is resting. Everything is frozen. Only light snowflakes swirl over the clearing.

Children of the second subgroup imitate the movements of snowflakes.

Sound recording of music. "Snowflakes" pick up white handkerchiefs and spin in an impromptu dance around the "seeds". At the end of the music, they cover them with handkerchiefs and sit on the carpet.

Dwarf - The sun rises higher every day, stays in the sky longer, gradually warming the earth. The snow melts, streams murmur, their cheerful noise wakes up the seeds.

Children of the first subgroup throw off their scarves, stretch.

Gnome - It's getting even warmer. Everything in nature comes to life. To turn into plants, the seeds must gain strength. They develop roots through which they can get nutrients and water from the ground. Toward the warm rays of the sun, thin stems with delicate green leaves grown from seeds stretch.

Children raise their hands up, shake them.

Gnome - It's summer. The sprouts got stronger, grew up, buds appeared on them.

Children fold their palms in the form of buds, raise their arms above their heads.

Gnome - The buds slowly open, turning into bright flowers. Their delicate petals are washed with dew drops, basking in the gentle rays of the summer sun.

Improvise imitating open flowers.

Dwarf - Attracted by a delicate aroma, insects rushed to the flowers.

Children of the second subgroup depict the movements of insects flying around flowers and collecting nectar.

Gnome - Summer is coming to an end, the flowers wither, boxes with seeds are soiled in their place. Birds not only peck at them, but also carry them throughout the forest.

Children of the second subgroup depict birds. They plant the "seeds" on chairs placed along the carpet.

Gnome - Autumn is coming, it's getting colder. Birds gather in flocks and fly away to warm countries.

"Birds" line up in a wedge and "fly away". Children of the second subgroup sit on chairs.

Gnome - So our magical journey into the world of nature has ended. Today you tried and showed me your skill and knowledge. It's time for me to return to my country. I'll run and tell my friends what I learned from you about natural phenomena. Goodbye, guys!

Children - Goodbye, dwarf Wizard! Come visit us again!

3. Summary of classes on the development of speech.

Topic: "How the fox offended the bull."

Target:Help children understand and remember the content of the tale.

Tasks:Teach children to retell the text in whole and in parts. Improve the ability to coordinate words in a sentence. Develop the ability to coherently, consistently retell short tales. Promote development intonation expressiveness speech.

To cultivate cultural communication skills, the desire to participate in dramatizations.

Previous work:preparation of a dramatization of the fairy tale “How the fox offended the bull” with Masha B. (Fox); Nastya B. (Bullhead); Lena (Fox-mother).

Material:map of Russia, elements of costumes of a fox, mother fox, bull.

Organization and methodology:

Educator - Today, children, you will hear a wonderful tale "How the fox offended the bull." Whom did you offend? And who is this bull? What does he look like?

Children - with horns, hooves, big black (other descriptions of a calf).

Educator - You told me about the calf. And there is also such a sea fish called "goby". That's what the fox offended him. Want to know where it happened and how?

Children - Yes!

Educator - (For the first time he reads a fairy tale without the use of expressive means, monotonously). Once a fox was walking along the seashore. And the goby, a sea fish, leaned out of the water and began to look at the fox. The fox saw the goby and sang:

Goby, goby, bug-eyed.

Goby, goby, bigmouth.

Goby, goby, prickly barrel!

And the bull says to her:

- And you are shaggy, and your eyes are round! And you can't live in the sea!

The little fox cried and ran home.

Fox mother asks:

- Who offended you, daughter? Why are you crying?

How can I not cry? The sea goby offended me. He told me that I was shaggy and my eyes were round.

And the mother fox asks:

“And you didn’t tell him anything?”

- Said!

- What did you say to your mind? the fox asked.

- And I just told him that he was goggle-eyed and big-mouthed.

“You see,” said the mother fox, “you offended him first ...

Educator - Did you like how I told the story?

Children - No. It was not interesting (other children's answers).

Teacher: Now listen again. I will tell the tale with expression. (Reads the story again.)

Educator - Did you like the Eskimo fairy tale? The Eskimos, who composed this wise tale about a bully-chanterelle and a sea goby, live in the North of our country. Right here (points to the map). Can you imagine now what a goby looks like - a sea fish? If a goby is called bug-eyed, then what are his eyes?

Children - Bulging, large (other children's answers).

Educator - And what is the fox in this fairy tale?

Children - Rude, yabida (other answers of children).

Educator - Remember what mother fox said to her daughter? .. Here you are, friends, before complaining about someone, think about whether you are acting like a fox from an Eskimo fairy tale. Tell me, guys, how did the fox offend the goby that she sang to him?

Children - Goby, goby, bug-eyed.

Goby, goby, bigmouth.

Goby, goby, prickly barrel!

Educator - If you sang, then these words should not be spoken, but sung. Let's sing a fox teaser together?! Let's sing again, but more friendly, all together. And now Polina will sing it. Egor, do you want to try?. Well done. Come out Nastya, sing the fox's teaser to us.

Educator - And now you will tell the tale yourself. Who wants to go first?.. Come out, Polina and Ilya. How does the fairy tale begin?.. That's right. Now Ksyusha and Yulia will start talking.

Educator - Guys, listen carefully to determine which pair managed to tell the tale better.

Educator - Who told you better, what do you think, Lena? Why do you think so? (connected detailed story, expressively, etc. answers of children).

Educator - Tell me, please, children, where does the fish "bull" live

Children are in the sea.

Educator - Let's play with you in the sea ?!

The game of low mobility "The sea is worried."

The sea worries once, the sea worries twice,

The sea is worried for three, the marine figure freezes in place.

Educator - Dasha, choose which figure you like best? .. Let's play again? ..

Children - Yes! (the game is repeated 2-3 times)

Educator - All the guys are great! Very interesting and different figures you have turned out. And now, I suggest you play the fairy tale in roles. Want to?

Children - Yes!

Educator - Come out, girls. In the meantime, they are getting ready (putting on costumes, attributes), let's imagine that we are on the seashore.

Breathing exercise "Sound of the Sea"

Educator - The wave is making noise, sorting through the pebbles, the seagulls are screaming. How can you depict a wave? .. Listen to how I will do it: shuurr - shshuurr - shuurr. Now let's all get together. . . Well done. We got a wonderful sea, and here is the Chanterelle running.

Dramatization of the fairy tale "How the fox offended the bull."

Educator - These are our wonderful actors. Did you like it? Who else wants to try his hand at the role of an actor.. Come out... Choose everything you need for your role (attributes).

Educator - Well, guys, did you like the second performance of the fairy tale? .. For example, I really liked how Ilya played his role, because he was expressive and did not confuse words. What did Julia like?

Children's answers.

Educator - And now let's remember what is the name of the fairy tale that we met today?

Children - "How the fox offended the bull."

Educator - Who wrote it? .. Where do these people live? .. Who is this tale about? .. Did you enjoy acting out the tale by roles? .. Well done.

Application No. 10.

Questionnaire

"Intonation Expressiveness of Children's Speech"

Dear parents! We ask you to answer the questionnaire to help us in studying the intonation capabilities of your children. 1. What kind of children's fiction do you read at home? _________________________________________________________________________ Do you try to expressively read a poetic or prose text to your baby? _________________________________________________________________ __________________________________________________________________________ Do you memorize poems with your child, not only those recommended by a speech therapist and kindergarten teacher? ______________________________________ Do you pay attention to intonation, pauses, logical stress in the stories, poems, nursery rhymes offered to your child at home? ___________________________________________ ___________________________________________________________________________ Do you use different types of intonation when communicating with your child? Please provide examples. ________________________________________________________ ________________________________________________________________

Application No. 11.

1. Consultation for parents on the topic:

"Children and theater"

"Magic Land!" - so the great Russian poet A. S. Pushkin once called the theater.

Special studies conducted in our country and abroad have convincingly shown that the participation of children in theatrical activities (namely, playing the role of a spectator or actor) is very significant for their development. Five years is that favorable age when a visit to the theater can give a child an incomparable impression and leave a mark on his whole life. Theatrical play is an unusually emotionally rich activity, which makes it attractive to children. It brings great joy and emotional upsurge to children. In the soul of every child lies the desire for free theatrical activity, in which he can reproduce familiar stories. This is what activates his thinking, trains his memory, develops figurative perception, imagination, fantasy, improves speech. And it is impossible to overestimate the role of the native language, which helps people - especially children - to consciously perceive the world around them and is a means of communication. The more expressive the speech, the more the speaker appears in it, his facial expressions, gestures, behavior.

The educational possibilities of theatrical activity are enormous: its subject matter is not limited and can satisfy any interests and desires of the child. By participating in it, children get acquainted with the world around them in all its diversity through images, costumes, sounds; and skillfully posed questions encourage thinking, analyzing, drawing conclusions and generalizations. In the process of working on the expressiveness of the characters' replicas, their own statements, the child's vocabulary is activated, the sound side of speech is improved. The role played, especially the dialogue with other characters, puts the little actor in front of the need to clearly, clearly, distinctly express himself.

The collective nature of theatrical activity makes it possible to expand and enrich the experience of children's cooperation not only among themselves, but also with adults in real and imaginary situations. Acting in roles, children gain experience of various kinds of relationships, which is also important for their social development. In addition, theatrical activity is fraught with great opportunities for the correction of personal development.

The very term "theatrical game" indicates its connection with the theater. But you should not purposefully teach children one or another type of art. It is better to pay attention to their life in the field of art. Moreover, the art is simple, unsophisticated, bringing joy to the child, and not self-pleasure to adults.

For the full development of the child in theatrical activities, close cooperation between parents and teachers is necessary.

Appendix No. 12.

2. Consultation for parents on the topic:

"Conditions for the development of children in theatrical activities in the family"

• To maintain the child's interest in theatrical activities, as far as possible, try to attend children's performances.
• Discuss with the child before the performance the features of a particular role that he will play, and after the performance the result obtained. Celebrate achievements and identify ways to improve.
• Offer to play the role you like at home, help to play your favorite fairy tales, poems, etc.
• Tell friends in the presence of the child about his achievements.
• Tell the child about your own impressions received as a result of watching performances, movies, etc.
• Post-wall to develop in the child an understanding of theatrical art, a specific "theatrical perception" based on the communication of a "live artist" and a "live spectator".
• Organize visits to theaters or watching videos of theatrical performances whenever possible.

Department of Education and Youth Policy of the Gorodetsky District

Certification material

for the first qualification category

Zharkova Elena Anatolievna,

teacher of MDOU kindergarten No. 29

city ​​of Gorodets.

2010

Development of expressive speech

Expressiveness is an important quality of speech. Its development goes a long and peculiar way. The speech of a small child often has a vivid expressiveness. It is often replete with iterations (increasing repetitions), inversions - a violation of the usual word order, exclamatory turns, intermittent constructions, hyperbole, etc. - in a word, all stylistic forms that express emotionality.

In a small child, expressive moments are, of course, not stylistic means or devices that are consciously chosen and used in order to produce a certain emotional impression; the impulsive emotionality of the child breaks through in them quite involuntarily; it is freely expressed in his speech, since he does not yet have firmly established rules of coherent construction that would limit its expression. Thus, inversion in the speech of a child is not really an inversion in the sense in which it is in the speech of an adult. An adult has already developed a certain word order, accepted by the norms of grammar, and inversion means changing this already established order in order to highlight, emphasize a certain word: this is a stylistic device based on knowledge or at least a feeling of the effect that results from such inversion , such a change established order. The preschooler, in fact, does not yet have a firmly established, normalized word order, which he would consciously change in any way. But the simple emotional significance of words advances one word, pushes another aside, arranges them according to its own will, not knowing any canons and therefore, naturally, not taking them into account. When we speak of inversion in a child's speech, we mean, strictly speaking, that in comparison with the usual construction established in the language, it seems to us an inversion, without actually being one for the child. The same applies to a greater or lesser extent to all other expressive moments of early childhood speech, although, apparently, in some children, sensitivity to the emotional expressiveness of speech begins to manifest itself very early.

In the future, as the impulsiveness of children's emotionality decreases, and the speech of children, obeying the usual, normal structure adopted in the given language, becomes more regulated, its involuntary expressiveness naturally decreases. Based on the knowledge of the expressive effect of a particular construction, the ability to consciously give expressiveness to one's speech is already an art, usually not yet developed in children. As a result, when the initial involuntary expressiveness, often found in the speech of young preschoolers, especially younger ones, subsides, children's speech can become - if the development of its expressiveness is not specifically worked out - extremely inexpressive. Expressive speech becomes a purely individual feature of emotional natures, especially sensitive to the expressiveness of the word.

The brightness of the involuntary expressiveness of speech found in very young children, on the one hand, and the helplessness of children to make their speech expressive with the help of consciously chosen speech means, on the other hand, explain the differences on the issue of the expressiveness of children's speech - indications of its expressiveness in some and the assertion of others (starting with J.-J. Rousseau) that the speech of children is purely inexpressive.

The development of speech capable of expressing an emotional attitude to what is being said and having an emotional impact on another, consciously using expressive means, requires a great culture. The development of such expressive speech, in which emotionality does not break through, but is expressed in accordance with the conscious intentions of the speaker or writer, requires careful work.<…>

In its most generalized form, such conscious expressiveness is inherent in artistic speech. The expressive means of artistic speech consist of various elements, among which the most important are: 1) the choice of words (vocabulary); 2) compatibility of words and sentences (phraseology and context); 3) the structure of speech, and first of all the order of words. Giving the word an emotional coloring, these elements - in their totality - allow speech not only to convey the subject content of thought, but also to express the speaker's attitude to the subject of thought and to the interlocutor. In artistic speech special meaning thus acquires not only an open text, but also a much more complex and subtle emotional overtones.

Not only the independent conscious use of the expressive means of speech, but also the understanding of their peculiar and rich semantics, which determines the emotional subtext of speech (sometimes no less significant than its text, expressed by the logical construction of words), is a product of the assimilation of culture.

Understanding and experiencing emotional overtones requires thoughtful education. The emotional subtext presents the greatest difficulties for understanding when it deviates from the plain text or even contradicts it. This is often the case, for example, with ironic turns of speech. The subtle irony of N.V. Gogol, A.P. Chekhov, the language skills of M.E. Saltykov are often insufficiently understood by schoolchildren. The experimental work carried out by VE Syrkina, 152 who used the method of "director's remarks" and a number of other types of work on the text of works of art, showed the presence of various stages in the development of this understanding. At the first stage, the emotional implication escapes the student, the word is taken exclusively in its immediate direct meaning. At a higher level, the student already feels the discrepancy between the open text and the emotional overtones, but still does not know how to harmonize them, does not catch the correct relationship between them. Finally, with further advancement, the student gradually begins to capture the essence of the emotional subtext and, thanks to this, comes to a deeper penetration into the main idea of ​​the work of art.

The whole course of development of understanding of the emotional subtext - as it was revealed in the process of working with students - showed with great clarity the dialectical unity between the moments of experience and understanding. In order to truly understand the subtext of speech, one must feel it, "empathize." And at the same time, in order to truly empathize with the text, it is necessary to deeply comprehend it. So in terms of specific pilot study one of our main propositions about the unity of experience and consciousness was again confirmed and revealed in a new way.

In the speech of a person, the entire psychological makeup of the personality is usually revealed. Such an essential side as the degree and peculiarity of sociability, which underlies many classifications of characters, is directly manifested in speech. It is usually indicative how a person starts a conversation and how he ends it; in the pace of speech, his temperament more or less clearly appears, in its intonational, rhythmic, generally expressive pattern - his emotionality, and in its content his spiritual world, his interests, their orientation shine through.<…>

From the book Developmental Psychology and Developmental Psychology: Lecture Notes the author Karatyan T V

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O formation of expressiveness of speech in preschoolers

The question of education expressiveness of speech related to common process learning. The richer and more expressive speech of the child, the deeper, wider and more diverse its relation to the content speeches. expressive speech complements and enriches the content preschooler's speech.

Intonation is a means of the emotional-volitional attitude of the speaker to the content speeches addressed to the listeners. Intonation expressiveness of speech includes the following components.

Tempo - speed of speech statements: speed up or slow down speeches depending on the content of the speech.

A pause is a temporary stop in speeches. Logic pauses betray completeness to individual thoughts, psychological - are used as a means of emotional impact on listeners.

Rhythm - the alternation of stressed and unstressed syllables, different in duration and strength of pronunciation.

Timbre - emotionally expressive coloring speeches; with it you can express joy, annoyance, sadness, etc.

Intonation expressiveness of speech provided by the ability to change the voice, speed up and slow down the pace speeches, use pauses, highlight a single word or a group of words with your voice, give your voice an emotionally expressive coloring. With the help of intonation, the speaker reflects his attitude to the expressed thought, conveys his thoughts, experiences, brings his statement to full completion.

Talking about parenting expressiveness of speech, we mean two sides of this concepts:

Natural expressiveness everyday children's speeches

Arbitrary conscious expressiveness when transmitting a premeditated text.

The casual speech of a child is always expressive. This is the strong, bright side of the children's speeches. This expressiveness needs to be cultivated. But when there is no living source expressiveness of children's speech- a direct feeling, then the intonation is noticeably reduced expressiveness. This manifests itself when children have to answer or talk in class.

It is necessary to gradually and carefully develop in children the ability to voluntary expressiveness, i.e. to expressiveness arising as a result of conscious aspirations, volitional efforts.

In the process of purposeful learning in children expressive speech is formed. It is characterized by qualities:

Medium pace

Rhythm

They can act as constant, habitual qualities that determine the overall personality. speeches. At the same time the pace speeches and voice quality must be sufficiently mobile and flexible to to express separate states and feelings, that is, you need to be able to speak in a whisper, and loudly, and slowly, and quickly ... Attention to these aspects speeches required at all ages.

Starting from senior group, the teacher teaches children to use voice quality as a means expressiveness not only in free speeches, but also when transmitting other people's thoughts, the author's text. It is necessary to teach children to speak slowly, rhythmically, to stop at the end of a phrase, ending a thought intonation. Expression occurs when when the child wants to pass in speeches not only their knowledge, but also relationships, emotional state. Therefore, a special role belongs to the creation of a positive emotional background.

The solution to this problem is possible by including the child in theatrical activities. It helps to relieve tension, muscle stiffness in children, helps to learn to control their body, facial expressions, voice.

Working with a bibabo doll, speaking for her, the child has a different attitude to his own speeches. The toy is completely subordinate to the will of the child and at the same time makes him speak and act in a certain way.

Participation in dramatizations makes it possible to transform into various characters and encourages to speak freely and expressively, act uninhibited. Required for staging preparatory work, where in a question-and-answer conversation it is revealed what character traits are inherent in each character, what should be his manner speeches, facial expressions, gestures, gait.

In role-playing games, children depict the world of adults, copy their words, intonation, gestures.

It is advisable to supplement the system of work with logorhythmic exercises, which include exercises with fast and slow movements, marching, movements to music, mobile and speech games that have a significant impact on emotional expressiveness of children, to normalize the tempo speeches, bringing up the rhythm speeches, the development of the height and strength of the voice, i.e. the main means of intonation speeches.

Saying tongue twisters, greetings, addresses, names with different emotions and intonations also contributes to the development expressiveness of speech.

Theatrical activity is a source of development of feelings, deep feelings and discoveries of the child, introduces him to spiritual values. This is a concrete, visible result. But it is no less important that classes with elements of theatrical games develop the emotional sphere of the child, make him sympathize with the characters, empathize with the events being played out and thereby form expressive speech.

The artistic expressiveness of the images, sometimes the comicality of the characters, enhance the impression of their statements, actions, and events in which they participate. Especially vividly in theatrical games expressiveness of speech, children's creativity is manifested.

An analysis of the psychological and pedagogical literature reveals that the concept of "expressiveness of speech" has an integrated character. The speech expressiveness scheme is shown in Figure 1.

Figure 1 - Speech expressiveness scheme

The process of speech development involves the development of not only the content, but also the figurative emotional side of the language. L.S. Vygotsky wrote: “The more expressive the speech, the more it is speech, and not just the language, because the more expressive the speech, the more the speaker appears in it; his face, himself." He sees expressiveness as qualitative characteristic speech, which is closely related to the manifestation of a person's individuality.

In the methodology for developing the expressiveness of speech, several groups of methods can be distinguished.

visual methods. If the objects being studied can be observed by children directly, the teacher uses the method of observation or its varieties: inspection of the premises, excursion, examination of natural objects. If objects are not available for direct observation, the teacher introduces children to them indirectly, most often using visual means, showing paintings and photographs, films and filmstrips.

Indirect visual methods are used in kindergarten and for secondary acquaintance with the object, consolidating the knowledge gained during observation, and forming coherent speech. For this purpose, methods such as looking at pictures with content familiar to children, looking at toys (as conditional images that reflect the world around them in three-dimensional pictorial forms), describing pictures and toys by children, and inventing plot stories are used. Of course, in all these processes, the word of the educator is necessarily assumed, which directs the perception of children, explains and names what is shown. The source that determines the range of conversations, reasoning of the educator and children is visual objects or phenomena.

Verbal methods in kindergarten are used less frequently than in school. In kindergarten, mainly those verbal methods that are associated with the artistic word are used. The teacher reads to the children works of art provided by the program. More complex methods are also used - memorization, retelling.

The teacher's storytelling method is less common in preschool institutions, although it should also take place in groups. early age(a story without showing), and in preschool groups (stories from the life experience of a teacher, stories about noble, heroic deeds of children and adults).

In older groups, the method of conversation is used to consolidate previously reported knowledge and to accustom to a collective conversation.

Verbal methods in the so-called pure form in kindergarten are used very rarely. The age characteristics of preschoolers require reliance on visibility, therefore, in all verbal methods they use either visual teaching methods (short-term display of an object, a toy, looking at illustrations), or a demonstration of a visual object for the purpose of relaxation, relaxation of children (reading poetry to a doll, the appearance of a clue - an object, etc.).

Practical methods. The purpose of these methods is to teach children to apply the acquired knowledge in practice, to help them learn and improve their speech skills. In kindergarten, practical methods are most often playful.

Didactic game (with visual material and verbal) -- generic method consolidation of knowledge and skills. It is used to solve all problems of speech development. work with a friend literary text can be carried out with the help of a dramatization game, a tabletop dramatization. The same methods apply to teaching storytelling. When introducing children to certain phenomena of everyday life and nature, methods of a labor nature (grafting, cooking) can be used in the classroom. Practical methods include those developed by S.V. Peterina visual games-classes, games-staging of an ethical nature. For their implementation, appropriate equipment is required: a doll and a teddy bear of large sizes (1 m 20 cm), which ensures actions with them as partners and gives a great educational affect, sets of doll clothes, shoes, and hygiene items.

The main task of these games-activities is to educate the culture of children's behavior, but they are also extremely important for the development of expressiveness of speech, as they enrich the vocabulary, strengthen the skills colloquial speech. For example, in the lesson "Tanya's doll is our guest", children not only observe the actions with the doll, but also sit around the tables set for tea, learn to maintain a general conversation during meals, show attention to the guest and to each other, try to eat beautifully , properly behave at the table.

Each method is a set of techniques used to solve didactic problems (introduce something new, consolidate a skill or skill, creatively process what has been learned). A receive is an element of a method. At present, the methodology for the development of speech, like general didactics, does not have a stable classification of techniques. First of all, they can be divided according to the role of visualization and emotionality into verbal, visual, game.

The following verbal techniques are most common. speech sample- correct, pre-worked out speech (language) activity of the educator. The model must be available for repetition, imitation. In order to achieve a conscious perception of the model by children, to increase the role of children's independence, it is useful to accompany the model with other methods - explanations, instructions. The sample must precede the speech activity of children; during one lesson, it can be used repeatedly, as needed. The speech sample is presented to the children clearly, loudly, unhurriedly.

Repetition is the deliberate, repeated use of the same speech element (sound, word, phrase) in order to memorize it. Repetition of the material by the educator, individual repetition by the child, joint repetition (of the educator and the child or two children), as well as choral repetition are practiced. Choral repetition is especially in need of clear guidance. It is advisable to preface explanations to him: offer to tell everyone together, clearly, but not loudly.

Explanation - disclosure by the educator of the essence of a phenomenon or mode of action. This approach is most widely used in vocabulary work, but it also finds a place in solving other problems.

Instructions - explaining to children how to act, how to achieve the desired result. Instructions of a teaching nature, as well as organizational, disciplinary ones, differ.

Verbal exercise - repeated performance by children of certain speech actions to develop and improve speech skills and abilities. In contrast to repetition, the exercise is more frequent, variant, and the proportion of children's independent efforts is greater.

Evaluation of children's speech is a detailed motivated judgment about the child's response, revealing the degree of assimilation of knowledge and speech skills. In the conditions of one lesson, the answers of only some children can be widely evaluated in detail. As a rule, the assessment concerns one or two qualities of children's speech, it is given immediately after the answer, so that other children take it into account when answering. Evaluation often refers to the positive aspects of speech. If shortcomings were noted, you can invite the child to “learn” - try to correct his answer. In other cases, the educator can express his opinion about the answer more briefly - with praise, remark, censure.

A question is a verbal appeal that requires an answer, a task for a child that involves the use or processing of existing knowledge. There is a certain classification of questions. In terms of content, questions are distinguished that require ascertainment, reproductive (What? What? Where? Where? How? When? How much? Etc.); a more complex category is search, i.e., questions that require inference (Why? Why? How are they similar? Etc.). According to the wording, questions can be divided into direct, suggestive, suggestive. Each type of question is valuable in its own way.

When posing a question, it is important to correctly determine the place of logical stress, since the child’s answer is directed precisely by the key word that carries the main semantic load.

Visual techniques - showing a picture, toy, movement or action (in a dramatization game, in reading a poem), showing the position of the organs of articulation when pronouncing sounds, etc. - are also usually combined with verbal techniques, for example, a sample of sound pronunciation and showing a picture, naming new word and showing the object it denotes.

In the development of the expressiveness of the speech of preschoolers, game pragmas and just emotionality in the application of some techniques are very important:

Exaggeratedly preoccupied intonation when setting a difficult task,

Using a joke to explain a task.

The liveliness of emotions increases the attention of children in the game, as a result of which all speech processes are activated (compare the exercise for the classification of objects, which is carried out at the tables, and the game "Do not yawn!" with the same verbal material, held in a circle with the ball, with playing forfeits). At the lesson, especially at the end of it, you can ask playful questions, use fables, turnarounds, the game "So or not", a game character (bring Petrushka, a bear), use game forms assessments (chips, forfeits, applause). Enhance the emotional impact educational material techniques such as actions by choice (make a story from one of these two pictures; remember a poem that you like) or by design. Arouse interest and increase children's attention to speech material elements of competition (“Who will say more words?”, “Who will say better?”), colorfulness, novelty of attributes, entertaining plots of games.

According to their teaching role, speech development techniques can be divided into direct and indirect. These categories of techniques are developed in detail by preschool pedagogy. Examples of direct teaching methods are a sample, an explanation, a question, an assessment of a child's answer, instructions, etc. Among the direct teaching methods, leading, basic for this lesson and additional methods can be distinguished in a specific lesson with a specific content. For example, in a storytelling lesson, depending on its purpose and the level of children's skills, a sample story may be the leading technique, while others - a plan, plan options, questions - will be additional. In another lesson, the leading technique may be a story plan, an additional one is a collective analysis of a separate item of the plan, etc. In a conversation, questions are a leading technique; in teaching storytelling, they play an additional, secondary role.

Indirect methods are reminder, advice, hint, correction, remark, remark.

In one lesson, a complex of techniques is usually used. For example, a comparison of objects or illustrations is accompanied by a naming, (a sample word), an explanation, an artistic word, appeals to children. The teacher must first not only think over the general course of the lesson, but also carefully outline the teaching methods (accuracy and brevity of the wording, the compatibility of individual methods). In the methodology, speech development methods are called differently.

Along with the term "teaching methods", others are also used: "techniques for working on the development of speech", "techniques for educating correct speech", "techniques for solving a speech problem". These terms also have the right to exist. As a rule, they are used in those cases when it comes to educational activities (outside of class). We can talk about methods of working in the corner of the book: joint examination of the book by the educator and the child, sorting books, classifying them, fixing them, etc.

Speech development techniques constitute the main specifics of the methodology. A reasonable, reasonable selection of the necessary techniques largely decides the matter. Thanks to the use of speech development techniques, the closest meeting of the educator and the child takes place, whom the first encourages to a certain speech action.

Thus, there are many ways and methods of forming the expressiveness of speech. To form the expressiveness of speech, various logarithmic exercises and speech therapy techniques are used, all exercises and trainings are carried out in the form of a game, since the game is one of the most accessible and understandable methods for children. Thanks to systematically conducted gaming exercises, facial expressions become more mobile and expressive, movements acquire greater confidence, controllability, and expressiveness of speech is formed.

Educational work to order

Formation of expressiveness of speech in older preschoolers

Type of work: Diploma Subject: Pedagogy

original work

Subject

Detailed information about work

Excerpt from work

Introduction

1. Theoretical foundations for the formation of expressiveness of speech in children of senior preschool age

1.1 Features of the formation of expressiveness of speech in older preschoolers

1.2 The possibilities of theatrical activities in the formation of expressiveness of speech in older preschoolers

1.3 Ways and methods of forming the expressiveness of speech

2. Experimental work on the formation of expressive speech in preschool children by means of theatrical games

2.1 The content of the experimental work and the ascertaining stage of the study

2.2 Formative stage of experimental work on the formation of expressiveness of speech in children of senior preschool age

2.3 The final stage of experimental work on the formation of expressiveness of speech in children of senior preschool age

Conclusion

List of sources used

Applications

Introduction

One of the little-studied areas can be considered the use of theatrical games in order to form the expressiveness of the speech of children of senior preschool age.

Expressiveness is a qualitative characteristic of speech, and therefore, it is considered as an important indicator of a person's speech culture.

The main purpose of the expressiveness of speech is to ensure the effectiveness of communication, at the same time, expressiveness can be considered a significant means of speech self-expression of the individual. The problem of the formation of the expressiveness of children's speech is reflected in the works of famous domestic psychologists, such as L. S. Vygotsky, B. M. Teplov, A. V. Zaporozhets, as well as teachers - A. V. Lagutina A. V., F. A Sokhin, O. S. Ushakova, et al. 21,34,38]. However, these works considered certain aspects of expressiveness, without taking into account its integrative nature.

To date, a number of important issues of a substantive and methodological nature have not been resolved:

- what means of expression are available for perception and independent use by older preschoolers;

- how can children be widely practiced in the use of various means of speech expressiveness;

- on what content and in what activity it is advisable to develop the expressiveness of speech.

This suggests the need for further study of this problem.

We believe that the use of theatrical games in work with older preschoolers opens up broad prospects for the formation of the expressiveness of children's speech, the basis of our assumption is the following features:

- expressiveness of the language, which contributes to the development by the child of the best samples of Russian speech;

- tradition and improvisation;

- the possibility of a creative attitude to their performance, which makes the joint action more vivid and expressive.

By virtue of these features, the theatrical game is an effective means of forming the expressiveness of speech, since it reveals to the child the beauty and accuracy of the Russian language, thereby enriching children's speech.

Productions of Russian folk tales as the most interesting and relevant for older preschoolers. Theatrical games can be considered the optimal content of artistic speech and gaming activities. In these activities, favorable conditions are created for improving the verbal and non-verbal expressiveness of speech, as well as for the speech self-expression of the child.

In domestic preschool pedagogy, a fairly wide range of research has been carried out on the formation of expressiveness of speech through theatrical games by such authors as G. I. Baturina, R. I. Zhukovskaya, Borodich A. M. and others.

However, recognizing the indisputable value of the scientific works of the listed authors, it must be noted that some works do not provide for a method for the formation of expressiveness of speech by theatrical games, and therefore in preschool institutions there are difficulties in the formation of expressiveness of speech through theatrical games.

Relevance research is determined by the fact that contradictions arose between the need to form the expressiveness of speech in older preschoolers and the practical absence of methods for working in this direction. Therefore, the topic of our study was determined by the undoubted importance of theatrical games in the formation of the expressiveness of speech and the development of speech culture.

Object of study: the process of forming the expressiveness of speech in older preschoolers.

Subject of study: the use of theatrical games as a means of forming the expressiveness of speech in older preschoolers.

Purpose of the study: to study the literature on the formation of expressiveness of speech and to determine the possibilities of forming the expressiveness of speech in older preschoolers through theatrical games.

Research hypothesis: the formation of expressiveness of speech by means of theatrical games in older preschoolers will be more successful if, when developing theatrical games:

1) take into account individual psychological and pedagogical characteristics

2) to apply effective methods of forming the expressiveness of speech in older preschoolers when conducting theatrical games

3) to organize the active participation of parents in the process of forming the expressiveness of speech in older preschoolers

Research objectives:

1) analyze the psychological and pedagogical literature on the research topic;

2) to consider the possibilities of theatrical activities in the formation of the expressiveness of speech in older preschoolers

3) to study ways of forming the expressiveness of speech in older preschoolers through theatrical games

4) to conduct experimental work using theatrical games on the formation of expressiveness of speech in children of senior preschool age

5) to develop guidelines for the formation of expressiveness of speech in children of senior preschool age through theatrical games.

Research methods: a comprehensive research methodology was used, including the study of psychological and pedagogical literature; development and conduct of a pedagogical experiment, including a stating, forming and final experiment; processing and interpretation of results.

Research Base: MDOU No. 4 "Ladushki" p. Dzhalinda, Skovorodinsky district. Children of the preparatory group aged 6–7 years, 18 people, participated in the pedagogical experiment. The study was conducted with the full consent of the parents.

The practical significance of this study lies in the fact that the research materials can be used in the development of developmental programs not only for the formation of expressiveness of speech in older preschoolers, but also for the development of attention, all processes of memory, thinking, cognitive and creative abilities, the formation of moral and ethical forms of behavior .

1 . Theoretical foundations of the formation of expressiveness of speech in children of senior preschool age

1.1 Features of the formation of expressiveness of speech in older preschoolers

Senior preschool age is a period of intensive personality formation, which is characterized by the formation of the foundations of self-awareness and the creative individuality of the child in various activities (L.S. Vygotsky, V.A. Zhilin, G.G. Kravtsov, etc.).

In the system of factors that determine the formation of personality, a special role belongs to the expressiveness of speech. Already in the early stages of ontogenesis, speech becomes the main means of communication, thinking, planning activities, and arbitrary control of behavior (L. S. Vygotsky and others).

Many researchers dealt with the issue of studying children's speech: Gvozdev A.N., Filicheva T.B., Shvachkin N.Kh. and others 10,40,42]

The psychological feature of the sound expressions of a child of the first year is that the main carrier of the meaning of speech is not a word, but intonation and rhythm, which are accompanied by sound. Only with the advent of the word begins to appear meaning sounds. Through the word, the child masters the system of sounds of the language. The child becomes sensitive to the sound of the words of adults, and from time to time he is guided in mastering the sounds of the language, mainly either by hearing or by articulation.

However, the child does not immediately master the system of sounds of the language. In the field of speech expression and perception, his rhythmic-intonational mood is still clearly manifested. Cases have been repeatedly noted when a child, grasping the syllabic composition of a word, pays little attention to the sounds of this word. The words spoken in these cases by children for the most part they very accurately correspond in the number of syllables to the words of adults, but in terms of the composition of sounds they are extremely different from them. The rhythm of speech expression and perception by the child is found in cases of the so-called syllabic elision, that is, the omission of the syllables of a word. The generally accepted definition of syllabic elision is that a child emphasizes a stressed syllable in a word and usually omits unstressed syllables. For example, instead of "hammer" the child says "current", instead of "head" - "va".

There are no statements in the literature on the question of the rhythmic structure of initial speech expressions. However, some data available in the diaries of the parents allowed N. Kh. Shvachkin to come to the conclusion that the first rhythmic expressions take on the structure of chorea. This assumption is reinforced by the fact that the first words with which an adult addresses a child are predominantly two-syllable with the stress on the first syllable.

In the process of further speech development, the child encounters the words of adults that have a different rhythmic structure. As you know, the words of the Russian language in rhythmic terms can be monosyllabic, two-syllable (trochee, iambic), three-syllable (dactyl, amphibrach, anapaest) and, finally, polysyllabic.

These facts lead to the conclusion that syllabic elision occurs not only as a result of the emphasis of the stressed syllable and the omission of unstressed syllables, and not only due to imperfect articulation of the sounds of the word, but also in connection with the child's inclination to perceive adult speech in a certain rhythmic structure - in the structure of the chorea.

With the development of verbal speech, rhythm and intonation begin to play an auxiliary role, they obey the word. In this regard, the proportion of chorea in the child's speech is reduced.

The rhythmic-intonation activity of the child is directed towards poetic creativity. This is typical for the entire period of preschool childhood, and in the younger preschooler, the predominance of rhythm and intonation over the word is found. There are cases when in kindergarten children comprehend the rhythm of a song without grasping all its words.

The poetic creativity of the child at the initial stage is usually accompanied by his body movements. However, not all of the child's poems are directly related to gesticulation. There are songs and jokes that are not accompanied by any movements and amuse the child with their content, rhythm, melody.

All activity of the child is connected with the song. There are fairy tale, choral, and playing songs. However, the child's games and other activities are not accompanied by song for long. Children give up singing during their games, they move on to games without songs.

By the same period, there is a change in rhythm in the poems of children. The chorea disappears. The verses themselves become arrhythmic.

Upon reaching senior preschool age, the formation of speech is so significant that one can talk not only about mastering phonetics, vocabulary, grammar, but also about the development of such qualities of speech as richness, accuracy and expressiveness.

Expressive speech is characterized by various intonation characteristics:

Prosody is a complex set of elements, including melody, rhythm, intensity, tempo, timbre and logical stress, which serves at the sentence level to express various syntactic meanings and categories, as well as expression and emotions.

Logical stress is an intonational means; highlighting a word in a sentence with intonation; words are pronounced more articulately, for a long time, loudly.

Speech is an important means of self-expression for children. From this point of view, expressiveness as a qualitative characteristic of speech is of particular importance, many researchers emphasize the functional significance of the expressiveness of speech (E.E. Artemova, N.S. Zhukova, etc.).

The expressiveness of speech ensures the effectiveness of communication, contributes to conveying the meaning of the statement to the audience. The appropriate and justified use of the means of speech expressiveness makes the older preschooler an interesting interlocutor and a desirable participant in various types of activities, and allows you to attract the attention of adults and peers. An older preschooler with expressive speech feels more relaxed and confident in any environment due to the fact that he can express thoughts and feelings with adequate means, show his creative individuality.

The expressiveness of speech allows the older preschooler to express himself more vividly in various types of activities, and above all, in play and art. Expressiveness characterizes not only the level of formation of children's speech, but also the personality traits of an older preschooler: openness, emotionality, sociability, and so on. The broad influence that expressiveness has on communicative culture personalities, relationships with others, self-expression in various types of creative activity, necessitates the study of factors and means of forming the expressiveness of speech in senior preschool age

L.S. Vygotsky emphasized that the essence of the process of formation of an individual lies in his gradual entry into human culture through the mastery of special "tools of the mind". First of all, they include language and speech, which always stand between a person and the world, and are the means of discovering for the subject the most essential aspects of the surrounding reality. The cumulative accumulative function of the native language allows us to consider it an important channel for the spiritual formation of a personality.

Work on the formation of expressiveness of speech in older preschoolers should permeate the entire life of children in kindergarten, should be carried out in all classes: educators, music director, in physical education, included in all regime moments, starting from the moment the child arrives in kindergarten

Rhythm and intonation of speech and verse begin to give way leading place word. The word, first in speech, then in poetry, becomes the bearer of meaning, and rhythm and intonation turn into a kind of accompaniment to verbal speech. At the same time, the restructuring of the rhythm and intonation of speech is fraught with danger: the word can push the rhythm back so much that in fact the child's speech loses its expressive brilliance and rhythm.

The education of rhythm and intonation is not only a problem of improving the expressiveness of speech itself. As the classics of pedagogy and psychology have repeatedly noted, rich rhythmic speech contributes to the overall mental development of the child and facilitates learning.

For the development of the expressive side of speech, it is necessary to create such conditions in which each child could express his emotions, feelings, desires and views, not only in ordinary conversation, but also in public, without being embarrassed by the presence of outsiders. It is important to teach this in early childhood, since it often happens that people with a rich spiritual content, with expressive speech, turn out to be closed, shy, avoid public speaking, and get lost in the presence of unfamiliar faces.

The habit of expressive speech can be cultivated in a person only by involving him from childhood in speaking to an audience. Theatrical classes in preschool educational institutions can be of great help in this.

Thus, the expressiveness of speech has an integrated character and includes verbal and non-verbal means. The question of the education of expressive speech is connected with the general process of learning. The richer and more expressive the child's speech, the deeper, wider and more diverse his attitude to the content of speech; expressive speech complements and enriches the content of a preschooler's speech. The question of the education of expressive speech is connected with the general process of learning. The richer and more expressive the child's speech, the deeper, wider and more diverse his attitude to the content of speech. Expressive speech complements and enriches the content of the speech of an older preschooler.

1.2 Possibilities of theatrical activity in the formation of expressiveness of speech in older preschoolers

The process of forming the expressiveness of speech appears to the preschooler as a special area of ​​objective relations, which he comprehends in the process. practical use language, in a sense, the language system is "extracted by the child" from the speech of the surrounding people. Special Role in the process of forming the expressiveness of speech belongs to theatrical games, which concentrated all the beauty and richness of the Russian language

The educational possibilities of theatrical activity are wide. By participating in it, children get acquainted with the world around them in all its diversity through images, colors, sounds, and skillfully posed questions make them think, analyze, draw conclusions and generalizations. Improving speech is closely related to mental development. In the process of working on the expressiveness of the characters’ replicas, their own statements, the child’s vocabulary is imperceptibly activated, the sound culture of his speech and its intonation structure are improved. The role played, the uttered remarks put the child in front of the need to express himself clearly, clearly, understandably. He improves dialogical speech, grammatical structure, expressiveness.

Theatrical games allow the child to join the achievements of the history of culture and, mastering them, become a cultured person. Self-activity of the child serves the development of his creative abilities in the process of mastering culture. The theatrical game has a great pedagogical value, consisting in its cognitive, aesthetic and educational value. Fascination, imagery, emotionality, dynamism of theatrical games, which are transmitted using special stylistic means, are close psychological characteristics children, their way of thinking, feeling, perceiving the world around them and expressing their attitude to its phenomena and events.

It can be argued that theatrical activity is a source of development of feelings, deep feelings and discoveries of the child, introduces him to spiritual values. This is a concrete, visible result. But it is equally important that theatrical classes develop the emotional sphere of the child, make him sympathize with the characters, empathize with the events being played out and thereby form expressive speech.

Theatrical activity allows you to form the experience of social behavior skills due to the fact that each literary work or fairy tale for preschool children always has a moral orientation (friendship, kindness, honesty, courage, etc.). Thanks to the fairy tale, the child learns the world not only with the mind, but also with the heart. And not only cognizes, but also expresses his own attitude towards good and evil. Favorite characters become role models and identifications. It is the child's ability for such identification with a favorite image that allows teachers to form expressive speech through theatrical activity.

The development of the child in theatrical activities, in the criteria of which it is emphasized that the teacher is obliged to:

- create conditions for the development of children's creative activity in theatrical activities

- encourage performing arts

- develop the ability to freely and liberatedly hold on when speaking

- encourage improvisation by means of facial expressions, expressive movements and intonation, etc.

- introduce children to theatrical culture (introduce the device of the theater, theatrical genres, with different types of puppet theaters);

- to ensure the relationship of theatrical with other activities in a single pedagogical process;

- create conditions for joint theatrical activities of children and adults.

A reasonable organization of theatrical activities of children will help the teaching staff to choose the best directions, forms and methods of work on this issue, to rationally use human resources. This will contribute to the implementation of new forms of communication with children, an individual approach to each child, non-traditional ways of interacting with the family, etc., and, ultimately, the integrity of the pedagogical process and the forms of its implementation, acting as a single thoughtful system of organization living together children and adults.

Theatrical activities in kindergarten can be organized in the morning and evening hours at unscheduled times; limitedly included in various other classes (musical, fine arts, etc.), and is also planned specifically in the weekly schedule of classes in the native language and familiarization with the outside world.

It is desirable that all organized forms of theatrical activity be carried out in small subgroups, which will ensure an individual approach to each child. Moreover, each time the subgroups should be formed differently, depending on the content of the classes.

According to the inclinations and interests of children in evening time the work of various studios "Puppet Theatre", "Theater Salon", "Visiting a Fairy Tale", etc. can be organized. whole product. It can be a concert, performance or any holiday for which the participants of all studios of a preschool educational institution are preparing. In such common events, each child becomes a member of a team united by a common goal.

Educators and parents can take part in the work of the studios, and this is very important. joint creative activity children and adults makes it possible to overcome the traditional approach to the mode of life of a preschool educational institution, which is characterized by artificial isolation of children, a limited range of their communication with each other and with different adults (children are included in their isolated "cell" - age group - and communicate as usually with three or four adults). Therefore, such an organization of theatrical activities of preschoolers not only creates conditions for the formation of expressiveness of speech, but also for the acquisition of new knowledge, skills, development of abilities and children's creativity, but also allows the child to come into contact with children from other groups, with different adults.

It is in a general performance or concert that a child naturally and naturally learns the richest experience of adults, adopting patterns of behavior and expressive speech. In addition, in such joint activities, educators get to know children better, their character, temperament, dreams, desires. A microclimate is being created, based on respect for the individual little man, caring for him, trusting relationships between adults and children

Theatrical games of children contribute to the activation of different aspects of speech:

- vocabulary, grammatical structure, dialogue, monologue;

- improvement of the sound side of speech, etc. .

It is the independent theatrical and gaming activity that serves intensive speech development, which includes not only the action of children with puppet characters or their own actions in roles, but also artistic and speech activity (choosing a topic, conveying familiar content, composing, performing songs on behalf of characters, their staging, dancing, humming, etc.).

The book by G. A. Volkova “Speech therapy rhythmics” defines the requirements for independent theatrical activity of children from 5 to 6 years old: “Be able to perform small monologues and more detailed dialogues between characters, play actions with characters using a variety of movements hand movements) be able to coordinate their actions with the actions of partners. Do not obscure them, choose expedient movements and actions, always feel a number of partners with you, find expressive means of performance of the character, strive to decorate the place of action of the characters with some elements of the scenery.

Therefore, it is theatrical activity that allows solving many correctional and pedagogical tasks related to the formation of the expressiveness of the child's speech, intellectual and artistic and aesthetic education.

The content of theatrical classes includes:

- watching puppet shows and talking about them;

- dramatization games;

- acting out various fairy tales and dramatizations;

— logarithmic exercises for the formation of expressiveness of performance (verbal and non-verbal);

- exercises for the social and emotional development of children.

Of course, the educator plays a huge role in theatrical activities. It should be emphasized that theatrical classes should simultaneously perform cognitive, educational and developmental functions and in no way be reduced to preparing performances. Their content, forms and methods of conducting should simultaneously contribute to the achievement of three main goals:

- the formation of expressiveness of speech

- creating an atmosphere of creativity;

- social and emotional development of children.

The content of such classes is not only acquaintance with the text of any literary work or fairy tale, but also with gestures, facial expressions, movement, costumes, mise-en-scene, i.e. with the "signs" of the visual language. In accordance with this, the practical action of each child is the most important methodological principle for conducting these classes. Therefore, it is necessary that the educator not only expressively read or tell something, be able to look and see, listen and hear, but also be ready for any “transformation”, that is, possess the basics of acting and directing skills.

Thus, theatrical activity is the most important means of forming expressive speech, as well as the development of attention, all processes of memory, thinking, cognitive and creative abilities, the formation of moral and ethical forms of behavior, the ability to recognize the emotional state of a person by facial expressions, gestures, intonation, the ability to put himself in his place in various situations, to find adequate ways to assist.

Theatrical activity allows children of senior preschool age to solve many problem situations indirectly on behalf of a character. It helps to overcome shyness, self-doubt, shyness, to form expressive speech. Theatrical games help to comprehensively develop the child, and it is no coincidence that in the exemplary requirements for the content and methods of work in a preschool educational institution, a special section is allocated, the organization of theatrical activities.

1.3 Ways and methods of forming the expressiveness of speech

Theatrical activity is a source of development of feelings, deep feelings and discoveries of the child, introduces him to spiritual values. This is a concrete, visible result. But it is no less important that classes with elements of theatrical games develop the emotional sphere of the child, make him sympathize with the characters, empathize with the events being played out and thereby form expressive speech.

The artistic expressiveness of the images, sometimes the comicality of the characters, enhance the impression of their statements, actions, and events in which they participate. Especially vividly in theatrical games expressiveness of speech, children's creativity is manifested.

An analysis of the psychological and pedagogical literature reveals that the concept of "expressiveness of speech" has an integrated character. The speech expressiveness scheme is shown in Figure 1.

Figure 1 - Speech expressiveness scheme

The process of speech development involves the development of not only the content, but also the figurative emotional side of the language. L. S. Vygotsky wrote: “The more expressive the speech, the more it is speech, and not just the language, because the more expressive the speech, the more the speaker speaks in it; his face, himself." He considers expressiveness as a qualitative characteristic of speech, which is closely related to the manifestation of a person's individuality.

In the methodology for developing the expressiveness of speech, several groups of methods can be distinguished.

visual methods. If the objects being studied can be observed by children directly, the teacher uses the method of observation or its varieties: inspection of the premises, excursion, examination of natural objects. If objects are not available for direct observation, the teacher introduces children to them indirectly, most often using visual means, showing paintings and photographs, films and filmstrips.

Indirect visual methods are used in kindergarten and for secondary acquaintance with the object, consolidating the knowledge gained during observation, and forming coherent speech. For this purpose, methods such as looking at pictures with content familiar to children, looking at toys (as conditional images that reflect the world around them in three-dimensional pictorial forms), describing pictures and toys by children, and inventing plot stories are used. Of course, in all these processes, the word of the educator is necessarily assumed, which directs the perception of children, explains and names what is shown. The source that determines the range of conversations, reasoning of the educator and children is visual objects or phenomena.

Verbal methods in kindergarten are used less frequently than in school. In kindergarten, mainly those verbal methods that are associated with the artistic word are used. The teacher reads to the children the works of art provided for by the program. More complex methods are also used - memorization, retelling.

The teacher's story method is less common in preschool institutions, although it should take place both in early age groups (a story without showing) and in preschool groups (stories from the teacher's life experience, stories about noble, heroic deeds of children and adults).

In older groups, the method of conversation is used to consolidate previously reported knowledge and to accustom to a collective conversation.

Verbal methods in the so-called pure form in kindergarten are used very rarely. The age characteristics of preschoolers require reliance on visualization, therefore, in all verbal methods, either visual teaching methods are used (short-term display of an object, toys, looking at illustrations), or a demonstration of a visual object for the purpose of relaxation, relaxation of children (reading poetry to a doll, the appearance of a clue - an object and etc.).

Practical methods. The purpose of these methods is to teach children to apply the acquired knowledge in practice, to help them learn and improve their speech skills. In kindergarten, practical methods are most often playful.

Didactic game (with visual material and verbal) is a universal method of consolidating knowledge and skills. It is used to solve all problems of speech development. Work with a familiar literary text can be carried out using a dramatization game, a tabletop dramatization. The same methods apply to teaching storytelling. When introducing children to certain phenomena of everyday life and nature, methods of a labor nature (grafting, cooking) can be used in the classroom. The practical methods include visual games-classes developed by S. V. Peterina, games-staging of an ethical nature. For their implementation, appropriate equipment is required: a doll and a teddy bear of large sizes (1 m 20 cm), which ensures actions with them as partners and gives a great educational affect, sets of doll clothes, shoes, and hygiene items.

The main task of these games-activities is to educate the culture of children's behavior, but they are also extremely important for the development of expressiveness of speech, as they enrich the vocabulary and strengthen speaking skills. For example, in the lesson "Tanya's doll is our guest", children not only observe the actions with the doll, but also sit around the tables set for tea, learn to maintain a general conversation during meals, show attention to the guest and to each other, try to eat beautifully , properly behave at the table.

Each method is a set of techniques used to solve didactic problems (introduce something new, consolidate a skill or skill, creatively process what has been learned). A receive is an element of a method. At present, the methodology for the development of speech, like general didactics, does not have a stable classification of techniques. First of all, they can be divided according to the role of visualization and emotionality into verbal, visual, game.

The following verbal techniques are most common. A speech sample is a correct, pre-worked out speech (language) activity of the educator. The model must be available for repetition, imitation. In order to achieve a conscious perception of the model by children, to increase the role of children's independence, it is useful to accompany the model with other methods - explanations, instructions. The sample must precede the speech activity of children; during one lesson, it can be used repeatedly, as needed. The speech sample is presented to the children clearly, loudly, unhurriedly.

Repetition is the deliberate, repeated use of the same speech element (sound, word, phrase) in order to memorize it. Repetition of the material by the educator, individual repetition by the child, joint repetition (of the educator and the child or two children), as well as choral repetition are practiced. Choral repetition is especially in need of clear guidance. It is advisable to preface explanations to him: offer to tell everyone together, clearly, but not loudly.

Explanation - disclosure by the educator of the essence of a phenomenon or mode of action. This technique is most widely used in dictionary work, but it also finds a place in solving other problems.

Instructions - explaining to children how to act, how to achieve the desired result. Instructions of a teaching nature, as well as organizational, disciplinary ones, differ.

Verbal exercise - repeated performance by children of certain speech actions to develop and improve speech skills and abilities. In contrast to repetition, the exercise is more frequent, variant, and the proportion of children's independent efforts is greater.

Evaluation of children's speech is a detailed motivated judgment about the child's response, revealing the degree of assimilation of knowledge and speech skills. In the conditions of one lesson, the answers of only some children can be widely evaluated in detail. As a rule, the assessment concerns one or two qualities of children's speech, it is given immediately after the answer, so that other children take it into account when answering. Evaluation often refers to the positive aspects of speech. If shortcomings were noted, you can invite the child to “learn” - try to correct his answer. In other cases, the educator can express his opinion about the answer more briefly - with praise, remark, censure.

A question is a verbal appeal that requires an answer, a task for a child that involves the use or processing of existing knowledge. There is a certain classification of questions. In terms of content, questions are distinguished that require ascertainment, reproductive (What? What? Where? Where? How? When? How much? Etc.); a more complex category is search, i.e., questions that require inference (Why? Why? How are they similar? Etc.). According to the wording, questions can be divided into direct, suggestive, suggestive. Each type of question is valuable in its own way.

When posing a question, it is important to correctly determine the place of logical stress, since the child’s answer is directed precisely by the key word that carries the main semantic load.

Visual techniques - showing a picture, toy, movement or action (in a dramatization game, in reading a poem), showing the position of the organs of articulation when pronouncing sounds, etc. - are also usually combined with verbal techniques, for example, a sample of sound pronunciation and showing a picture, naming new word and showing the object it denotes.

In the development of the expressiveness of the speech of preschoolers, game pragmas and just emotionality in the application of some techniques are very important:

- intriguing tone of voice when asked,

- exaggeratedly preoccupied intonation when setting a difficult task,

- using a joke when explaining a task.

The liveliness of emotions increases the attention of children in the game, as a result of which all speech processes are activated (compare the exercise for the classification of objects, which is carried out at the tables, and the game "Do not yawn!" with the same verbal material, held in a circle with the ball, with playing forfeits). At the lesson, especially at the end of it, you can ask playful questions, use fables, shifters, the game "So or not", a game character (bring Petrushka, a bear), use game forms of evaluation (chips, forfeits, applause). Enhance the emotional impact teaching material, such techniques as actions by choice (make a story based on one of these two pictures; remember a poem that you like) or by design. The elements of the competition (“Who will say more words?”, “Who will say better?”), Colorfulness, novelty of attributes, and entertaining plots of games arouse interest and increase the attention of children to speech material.

According to their teaching role, speech development techniques can be divided into direct and indirect. These categories of techniques are developed in detail by preschool pedagogy. Examples of direct teaching methods are a sample, an explanation, a question, an assessment of a child's response, instructions, etc. 17, p. For example, in a storytelling lesson, depending on its purpose and the level of children's skills, a sample story may be the leading technique, while others - a plan, plan options, questions - will be additional. In another lesson, the leading technique may be a story plan, an additional one is a collective analysis of a separate item of the plan, etc. In a conversation, questions are a leading technique; in teaching storytelling, they play an additional, secondary role.

In one lesson, a complex of techniques is usually used. For example, a comparison of objects or illustrations is accompanied by a naming, (a sample word), an explanation, an artistic word, appeals to children. The teacher must first not only think over the general course of the lesson, but also carefully outline the teaching methods (accuracy and brevity of the wording, the compatibility of individual methods). In the methodology, speech development methods are called differently.

Along with the term "teaching methods", others are also used: "techniques for working on the development of speech", "techniques for educating correct speech", "techniques for solving a speech problem". These terms also have the right to exist. As a rule, they are used in those cases when it comes to educational activities (outside of class). We can talk about methods of working in the corner of the book: joint examination of the book by the educator and the child, sorting books, classifying them, fixing them, etc.

Speech development techniques constitute the main specifics of the methodology. A reasonable, reasonable selection of the necessary techniques largely decides the matter. Thanks to the use of speech development techniques, the closest meeting of the educator and the child takes place, whom the first encourages to a certain speech action.

Thus, there are many ways and methods of forming the expressiveness of speech. To form the expressiveness of speech, various logarithmic exercises and speech therapy techniques are used, all exercises and trainings are carried out in the form of a game, since the game is one of the most accessible and understandable methods for children. Thanks to systematically conducted gaming exercises, facial expressions become more mobile and expressive, movements acquire greater confidence, controllability, and expressiveness of speech is formed.

2 . Experimental work on the formation of expressive speech in preschool children by means of theatrical games

2.1 The content of the experimental work and the ascertaining stage of the study

To study the problem of the formation of expressive speech in preschool children, we conducted a theoretical analysis of the literature, which showed that theatrical games are the most important means of forming expressive speech in children of older preschool age.

The process of forming the expressiveness of speech appears to the preschooler as a special area of ​​objective relations, which he comprehends in the process of practical use of the language, in a sense, the language system is “extracted by the child” from the speech of the surrounding people. A special role in the process of forming the expressiveness of speech belongs to theatrical games, which have concentrated all the beauty and richness of the Russian language.

The content of experimental work is to confirm or refute the hypothesis in the original position.

The pedagogical idea of ​​the experimental work is to develop theatrical classes using methods and techniques that should ensure the effectiveness of the formation of the expressiveness of the speech of older preschoolers.

In our opinion, the effectiveness of the formation of expressiveness of speech largely depends on the professional skills of the teacher, on his knowledge of the psychology of the child, taking into account his age and individual features, from the correct selected methodological guidance, from the clear organization and conduct of theatrical games, from the organization active participation parents in the process of forming the expressiveness of speech in older preschoolers.

Thus, if all of the above conditions are met, then the formation of expressiveness of speech will be effective.

Expressive speech is characterized by various intonation characteristics:

The intensity of pronunciation is the degree of strengthening or weakening of exhalation, voice, tempo when pronouncing speech sounds, that is, the strength or weakness of pronunciation when articulating sounds, especially vowels.

The melody of speech is a set of tonal means characteristic of a given language; pitch modulation when pronouncing a phrase.

The rhythm of speech is the ordering of the sound, verbal and syntactic composition of speech, determined by its semantic task.

The rate of speech is the speed of speech in time, its acceleration or deceleration, which determines the degree of its articulatory and auditory tension.

Voice timbre - coloring, sound quality.

Logical stress is an intonational means; highlighting a word in a sentence with intonation; words are pronounced more articulately, for a long time, loudly.

Therefore, the criterion for evaluating the effectiveness of theatrical classes with elements of theatrical games aimed at shaping the expressiveness of speech in older preschoolers was:

- tempo-rhythmic characteristics of speech

- rate of speech

- simultaneous implementation of movements and speech

- reproduction of rhythmic patterns

- melodic and intonation characteristics of speech

- logical stress

Purpose of the pilot study: to determine the effectiveness of the proposed theatrical classes with elements of theatrical games, as a means of forming the expressiveness of speech in older preschoolers

Objectives of the experimental study:

1) to identify the level of formation of expressive speech in children of senior preschool age;

2) to develop and test classes with elements of theatrical games aimed at developing the expressiveness of speech in children of senior preschool age

3) to develop guidelines for the formation of expressiveness of speech in children of senior preschool age through theatrical games.

Methods were used to solve the tasks:

1) observation;

2) testing;

3) mathematical processing

4) interpretation of results

Base of the experiment: MDOU No. 4 "Ladushki" with. Dzhalinda, Skovorodinsky district. Children of preparatory groups 1 and 2, 6-7 years old, 18 people participated in the ascertaining experiment.

Experimental work consists of three successive stages - ascertaining, forming, control.

The ascertaining stage of the experimental study

Tasks of the ascertaining stage:

1) selection of diagnostic methods;

2) determining the level of formation of expressiveness of speech in older preschoolers;

3) development of classes with elements of theatrical games aimed at the formation of expressiveness of speech

For the ascertaining stage, we have selected the method of I.F. Pavalaki "Study of the expressiveness of speech" (Appendix A).

This technique is based on several tests that determine the level of formation of speech expressiveness characteristics, which in our study served as evaluation criteria for the effectiveness of classes with elements of theatrical games aimed at developing speech expressiveness.

The level of speech expressiveness formation was determined on the basis of the data obtained from all research methods as follows, a generalized assessment was derived and the level of speech expressiveness was determined in accordance with the scale:

- high level, if the child scored 9-15 points according to the methods used

- the average level, if the child scored 4-8 points according to the methods used

- low level, if the child scored 0-3 points according to the methods used

The ascertaining stage was carried out in three series.

1) examination of the subject-developing environment;

2) testing according to the method of I.F. Pavalaki "Research of the expressiveness of speech" and processing and interpretation of the results

3) development of classes with elements of theatrical games aimed at developing the characteristics of speech expressiveness.

1. Survey of the subject-developing environment

A distinctive feature of the kindergarten is purposeful work on the development of gaming activities. The institution has created comfortable conditions for the emergence and development of various types of games: role-playing, directing, building and constructive, didactic, theatrical, mobile, etc.

The game subject-developing environment created in the kindergarten meets the modern requirements and recommendations of the author of the methodology for organizing and managing the role-playing game of preschool children M. D. Makhneva.

A special room has been equipped for theatrical and gaming activities in the preschool institution - the theatrical living room, which turns into a winter garden, which made it possible to create the most comfortable conditions for creativity and children.

Before dramatizing a fairy tale, children learn to tell it by roles, finding the right intonations. To form the intonational expressiveness of speech, teachers use specially selected studies and exercises that develop a clear pronunciation of words and sounds. This is, first of all, memorizing tongue twisters and tongue twisters. First, children are required to pronounce words slowly and clearly, then - clear and fast. To master expressive speech, teachers introduce exercises that develop the ability to determine the meaning of logical stresses in the text, and special creative tasks on the development of figurative speech. It's about about exercises on the selection of synonyms and antonyms, inventing comparisons and epithets for given words.

All this work is carried out in specially organized classes in theater studies, in the joint activities of teachers and children, as well as in the work of the theater studio. Classes in theater studies are included in the block of classes of the cognitive cycle and are held regularly: once a month. Which, in general, is not enough to form the expressiveness of speech.

The structure of these classes includes exercises for the formation of intonational expressiveness of speech in children, the development of emotions, movements, gestures, facial expressions. Finger gymnastics is carried out, which is a preparatory stage in preparing the child's hand for riding puppets.

Taking into account the comprehensive educational programs implemented in the kindergarten, the teaching staff purposefully creates conditions for the cognitive and speech development of children, however, classes on the formation of expressiveness of speech through theatrical games are almost not held due to the lack of scientifically developed methods.

2. Study of the expressiveness of speech, processing and interpretation of the results

The study of the expressiveness of speech in older preschoolers was based on the methods proposed by I.F. Pavalaki (Appendix A).

1. Examination of the tempo-rhythmic characteristics of speech.

A tape recorder and a stopwatch were used in the experiment. Prose and poetic texts were selected, the content of which corresponded to the level of knowledge and interests of preschool children. The texts are small in volume with a clearly traceable main idea.

The rate of speech inherent in the child was determined when performing speech tasks of varying complexity. All speech tasks are recorded on magnetic tape. The number of syllables per second was counted. It was noted at what pace the child spoke: slow, normal, fast.

The assessment of the tempo-rhythmic characteristics was determined in accordance with the scale of this technique:

- the child freely reads the poem in a given tempo-rhythm - 2 points

- the child finds it difficult to independently read the poem in a given tempo-rhythm - 1 point

- the impossibility of reading a poem in a given tempo-rhythm 0 points

2. Determination of the possibility of simultaneous implementation of movements and speech.

In accordance with the instructions, “Say the phrase “The wind is blowing, strong wind” and clap your hands at the same time.” The teacher previously demonstrated the sample, the children are offered a tempo-rhythm. The assessment of this criterion was determined on a scale: