Theatrical activities in the work of a music director as part of the implementation of the Federal State Educational Standard. Steamed turnips for dinner

Chapter 1

Conclusion

Bibliography

1.1 Formation of the creative personality of the child by means of theatrical activity

The problem of the development of artistic creativity in the system of aesthetic education of the younger generation is currently increasingly attracting the attention of philosophers, psychologists, and teachers.

Society constantly feels the need for creative individuals who are able to act actively, think outside the box, and find original solutions to any life problems.

According to prominent psychologists L.S. Vygotsky, L.A. Wenger, B.M. Teplov, D.B. Elkonin and others, the basis of artistic and creative abilities are general abilities. If a child can analyze, compare, observe, reason, generalize, then, as a rule, a high level of intelligence is found in him. Such a child can also be gifted in other areas: artistic, musical, social relations (leadership), psychomotor (sports), creative, where he will be distinguished by a high ability to create new ideas.

Based on the analysis of the works of domestic and foreign psychologists that reveal the properties and qualities of a creative personality, general criteria for creative abilities were identified: readiness for improvisation, justified expressiveness, novelty, originality, ease of association, independence of opinions and assessments, special sensitivity.

In Russian pedagogy, the system of aesthetic education is considered as the development of the ability to perceive, feel and understand the beautiful in life and art, as an introduction to artistic activity and the development of creative abilities (E.A. Flerina, N.P. Sakulina, N.A. Vetlugina, N. S. Karpinskaya, T. S. Komarova, T. G. Kazakova and others).

In the process of aesthetic perception of works of art, the child has artistic associations; he begins to carry out assessments, comparisons, generalizations, which leads to the realization of the connection between the content and means of artistic expression of works. The activity of preschoolers in that case becomes artistic when it is based on various types of art, clothed in unique and accessible forms for the child. These are visual, theatrical, musical and literary (artistic and speech) activities.

ON THE. Vetlugina singled out the following features in the artistic activity of preschoolers: the realization of the child's attitude to various types of art, the expression of his interests and emotional experiences, and the active artistic development of the surrounding life. She considered artistic and creative abilities (processes of perception, creativity, performance and evaluation) in a complex.

All types of artistic activity that are formed in preschool childhood, according to N.A. Vetlugina, are distinguished by ease, emotionality and necessarily awareness. In the process of this activity, the child's creative imagination is clearly manifested, he consciously conveys the game image and introduces his own interpretation into it.

Art as a kind of reflection of life makes it possible to reveal life phenomena in an artistic form. In pedagogical research aimed at studying children's creativity in various types of artistic activity (literary, visual, musical, theatrical), the need to form an aesthetic attitude to works of art is invariably emphasized (N.A. Vetlugina, N.P. Sakulina, T.G. Kazakova, A.E. Shibitskaya, O.S. Ushakova, T.I. Alieva, N.V. Gavrish, L.A. Kolunova, E.V. Savushkina).

The problem of the interaction of arts was considered in different aspects: as the influence of the relationship between music and painting on the creativity of children (S.P. Kozyreva, G.P. Novikova, R.M. Chumicheva); the development of musical perception of preschoolers in the context of the interaction of different arts (K.V. Tarasova, T.G. Ruban).

Most domestic psychologists emphasize the figurative nature of creative processes.

Creative abilities in children are manifested and developed on the basis of theatrical activities. This activity develops the personality of the child, instills a steady interest in literature, music, theater, improves the skill to embody certain experiences in the game, encourages the creation of new images, encourages thinking.

The influence of theatrical art on the formation of the spiritual culture of the individual is highlighted in the works of E.B. Vakhtangov, I.D. Glikman, B.E. Zakhavy, T.A. Kurysheva, A.V. Lunacharsky, V.I. Nemirovich-Danchenko, K.S. Stanislavsky, A.Ya. Tairova, G.A. Tovstonogov; the problems of the moral development of children by means of the theater are devoted to the works of the founders of the puppet theater in our country - A.A. Bryantseva, E.S. Demmeni, SV. Obraztsov, and musical theater for children - N.I. Sats.

This is due to two main points: firstly, the drama, based on the action performed by the child himself, most closely, effectively and directly connects artistic creativity with personal experience.

As Petrova V.G. notes, theatrical activity is a form of living out the impressions of life lies deep in the nature of children and finds its expression spontaneously, regardless of the desire of adults.

In the dramatic form, an integral circle of imagination is realized, in which the image, created from the elements of reality, embodies and realizes again into reality, even if it is conditional. Thus, the desire for action, for embodiment, for realization, which is inherent in the very process of imagination, finds its full realization in theatricalization.

Another reason for the proximity of the dramatic form to the child is the connection of all dramatization with play. Dramatization is closer than any other type of creativity, it is directly connected with the game, this root of all children's creativity, and therefore it is the most syncretic, that is, it contains elements of the most diverse types of creativity.

Pedagogical research (D.V. Mendzheritskaya, R.I. Zhukovskaya, N.S. Karpinskaya, N.A. Vetlugina) shows that dramatization is one of the forms of plot-role-playing game and represents a synthesis of literary text perception and role-playing games. At the same time, the role of play-dramatization in the transition to theatrical activity is emphasized (L.V. Artemova, L.V. Voroshnina, L.S. Furmina).

Analysis of children's creativity in the works of N.A. Vetlugina, L.A. Penevskaya, A.E. Shibitskaya, L.S. Furmina, O.S. Ushakova, as well as the statements of famous representatives of theatrical art convincingly prove the need for special training in theatrical activity. There can be two approaches to solving this problem: one of them involves a reproductive (reproducing) type of education, the other is based on the organization of conditions for the creative processing of material, the creation of new artistic images.

Various aspects of the theatrical activity of children are the subject of a number of scientific studies. The issues of organization and methods of teaching theatrical activities of children are reflected in the works of V.I. Ashikova, V.M. Bukatova, T.N. Doronova, A.P. Ershova, O.A. Lapina, V.I. Loginova, L.V. Makarenko, L.A. Nikolsky, T.G. Peni, Yu.I. Rubina, N.F. Sorokina and others.

The possibilities of teaching theatrical activity in the development of various aspects of the child's personality are revealed in the studies of L.A. Tarasova (social relations), I.G. Andreeva (creative activity), D.A. Strelkova, M.A. Babakanova, E.A. Medvedeva, V.I. Kozlovsky (creative interests), T.N. Polyakova (humanitarian culture), G.F. Pokhmelkina (humanistic orientation), E.M. Kotikova (moral and aesthetic education).

In the field of music education, the problem of child development through theatrical activity was reflected in the works of L.L. Pilipenko (the formation of emotional responsiveness in younger schoolchildren), I.B. Sokolova-Naboychenko (musical and theatrical activities in additional education), A.G. Genina (formation of musical culture), E.V. Alexandrova (development of the perception of the musical image in the process of staging a children's opera).

An analysis of the literature suggested that musical development is promoted by a special organization of the conditions for the purposeful teaching of children to various types of artistic activity in their interconnection.

The development of the theory and practice of educating preschoolers by means of music took place under the influence of the views of B.V. Asafyeva, T.S. Babajanyan, V.M. Bekhterev, P.P. Blonsky, L.S. Vygotsky, P.F. Kaptereva, B.M. Teplova, V.N. Shatskoy, B.L. Yavorsky and others, who emphasized the need for this work, starting from an early age, for the moral and intellectual development of the personality of children.

The system of domestic musical education of preschoolers, which developed in the 60s - 70s. XX century, relied on pedagogical and psychological studies of the problems of the development of musical perception of preschoolers (S.M. Belyaeva-Ekzemplyarskaya, I.A. Vetlugina, I.L. Dzerzhinskaya, M. Nilson, M. Vikat, A.I. Katinene, O.P. Radynova, S. Sholomovich) and children's abilities in music evaluation (II.A. Vetlupsha, L.N. Komissarova, II.A. Chicherina, A.I. Shelepenko).

II.A. Vetlugina, who developed many of the most important problems of children's musical activity, proposed to combine the methods of traditional and innovative pedagogy in the practice of musical education and upbringing. This approach is followed by A.D. Artobolevskaya, A.II. Zimina, A.I. Katinene, L.N. Komisarova, L.E. Kostryukova, M.L. Palandishvili, O.P. Radynova, T.I. Smirnova and others.

In most of the created technologies, the upbringing of a harmoniously developed personality is carried out in the process of combining different types of artistic activity, each of which (singing, movement, recitation, playing noise, percussion instruments, arts and crafts and visual arts) is organic for the child, but in practice the priority is often given to any one type of musical activity.

The paradox of many methodological studies and developments lies in the focus on the process of creative activity and the underestimation of the pedagogical significance of its product (the system of acquired knowledge, skills and abilities often replaces the product of children's musical creativity).

It should also be noted that most of the existing concepts and author's methods, as a rule, are focused on short time periods (3-4 years, 5-7 years, primary school age), that is, they are limited to the framework of educational institutions of various types. Such "age" fragmentation leads to the need for special efforts aimed at implementing the continuity of the musical development of the child.

In overcoming these negative trends, musical stage works written for children acquire special significance. A prominent role in the process of shaping the integrated principles of the creative musical development of children was played by composers - foreign (B. Britten, K. Orff, Z. Kodai, P. Hindemith) and domestic (C. Cui, A. Grechaninov, M. Krasev, M. Koval , D. Kabalevsky, M. Minkov and others).

In recent decades, a lot of new musical and stage works have appeared, which, being the material that is accessible and exciting for the perception of modern children, can raise their creative development to a new level. It is in these works that the child is able to manifest, realize himself in various types of creative activity. Singing, plasticity, acting skills, development of the artistic solution of the performance - all these are the components that cannot be dispensed with when working on stage works.

1.2 Creative games for preschoolers

In domestic preschool pedagogy, a classification of children's games has developed, based on the degree of independence and creativity of children in the game. Initially, P.F. approached the classification of games according to this principle. Lesgaft, later his idea was developed in the works of N.K. Krupskaya.

She divides all children's games into 2 groups. The first N.K. Krupskaya called creative; emphasizing their main feature - an independent character. This name has been preserved in the traditional domestic preschool pedagogy of the classification of children's games. Another group of games in this classification are games with rules.

Modern domestic pedagogy classifies role-playing, construction and theatrical games as creative games. The group of games with rules includes didactic and outdoor games.

The theatrical game is very closely related to the role-playing game and is a variation of it. A role-playing game appears in a child at about 3 years of age and reaches its peak at 5-6 years old, theatrical game reaches its peak at 6-7 years old.

The child in his growing up goes through a number of stages, and his game also develops in stages: from experimenting with objects, getting acquainted with them to displaying actions with toys and objects, then the first plots appear, then the entry into the role is added and, finally, the dramatization of plots.

D.B. Elkonin calls the role-playing game an activity of a creative nature, in which children take over and in a generalized form reproduce the activities and relationships of adults using substitute objects. The theatrical game appears in a certain period and, as it were, grows out of a role-playing game. This happens at a time when, at an older age, children are not satisfied only with the reproduction of plots of real relationships between adults. It becomes interesting for children to base the game on literary works, to reveal their feelings in it, to make dreams come true, to perform the desired actions, to play fantastic plots, to invent stories.

The difference between role-playing and theatrical games is that in the role-playing game children reflect life phenomena, while in theatrical they take stories from literary works. In a role-playing game, there is no final product, the result of the game, but in the theatrical game there can be such a product - a staged performance, staging.

Due to the fact that both types of games, role-playing and theatrical, are creative types, the concept of creativity should be defined. According to encyclopedic literature, creativity is new, never been before. Thus, creativity is characterized by 2 main criteria: novelty and originality of the product. Can children's art products meet these criteria? Certainly not. N.A. Vetlugina, the most prominent researcher of children's art, believes that in his work the child discovers something new for himself, and tells others about himself.

Consequently, the product of children's creativity has not an objective, but a subjective novelty. The remarkable scientific teacher T.S. Komarova understands the artistic creativity of the child as “the creation by the child of a subjectively new, (primarily significant for the child) product (drawing, modeling, storytelling, dance, song, game invented by the child), inventing new ones to the unknown, previously unused details that characterize the created image in a new way (in a drawing, in a story, etc.), inventing one’s own beginning, end of new actions, characteristics of heroes, etc., using previously learned ways of depicting or means of expression in a new situation (for depicting objects of a familiar shape - based on the possession of facial expressions, gestures, voice variations, etc.), the child's manifestation of initiative in everything, inventing different versions of the image, situations, movements, as well as the process of creating images of a fairy tale, story, game - dramatization, drawing, etc., searches in the process of activity for ways, ways of solving a problem (graphic, game, musical).

Indeed, in the game the child comes up with a lot of things himself. He comes up with an idea, the content of the game, selects visual and expressive means, organizes the game. In the game, the child manifests himself as an artist who plays out the plot, and as a screenwriter, who builds its canvas, and as a decorator, equipping a place for the game, and as a constructor, embodying a technical project.

The creative combining activity of a preschooler is based on imagination. It is with the help of imagination that children's games are created. They serve as an echo of the events that he saw, about which he heard from adults.

L.S. Vygotsky believes that the imagination of a child is much poorer than that of an adult, therefore, in order to develop children's creativity, one must take care of the development of imagination. Imagination develops in the process of accumulating impressions, figurative representations, for this it is necessary to give as much food for perception as possible. In his game, the child will combine what he saw and heard, turning it into images taken from life and from books.

In order to understand the psychological mechanism of imagination and the creative activity associated with it, it is best to start by clarifying the connection that exists between fantasy and reality in human behavior.

The first form of connection between imagination and reality is that any creation of imagination is always built from elements taken from reality and contained in the previous experience of man.

Thus, imagination always consists of materials given by reality. True, when this can be seen from the above passage, the imagination can create more and more new systems of combination, combining first the primary elements of reality (cat, target, oak), then combining images of fantasy a second time (mermaid, goblin), etc. But the last elements, from which the most remote from reality fantastic representation is created. These last elements will always be impressions of reality.

Here we find the first and most important law to which the activity of the imagination is subject. This law can be formulated as follows: the creative activity of the imagination is directly dependent on the richness and diversity of a person's previous experience, because this experience is the material from which the constructions of fantasy are created. The richer the experience of a person, the more material that his imagination has at his disposal. That is why the imagination of a child is poorer than that of an adult, and this is due to the greater poverty of his experience.

The second form of connection between fantasy and reality is another, more complex connection, this time not between the elements of a fantastic construction and reality, but between the finished product of fantasy and some complex phenomenon of reality. It does not reproduce what was perceived in the previous experience, but creates new combinations from this experience.

The third form of connection between imagination and reality is the emotional connection. This connection manifests itself in two ways. On the one hand, every feeling, every emotion tends to be embodied in certain images corresponding to this feeling.

Fear, for example, is expressed not only in pallor, in trembling, dryness in the throat, altered breathing and heartbeat, but also in the fact that all impressions perceived at that time by a person, all thoughts that come into his head are usually surrounded by a feeling that owns him. The images of fantasy also provide an inner language for our feelings. This feeling picks up individual elements of reality and combines them into such a connection, which is conditioned from within by our mood, and not from outside, by the logic of our images.

However, there is also an inverse relationship between imagination and emotion. If, in the first case we have described, the senses influence the imagination, then in the other case, the reverse, the imagination influences the feeling. This phenomenon could be called the law of the emotional reality of the imagination.

Ribot formulates the essence of this law as follows: "All forms of creative imagination," he says, "include affective elements." This means that any construction of fantasy inversely affects our feelings, and if this construction does not correspond in itself to reality, to a feeling that is really experienced, captivating a person.

It remains to be said about the fourth, final form of connection between fantasy and reality. This last form is, on the one hand, closely related to the one just described, but on the other, it differs significantly from it.

The essence of this latter form lies in the fact that the construction of fantasy can be essentially new, not having been in human experience and not corresponding to any really existing object, however, being embodied outside, having taken on a material embodiment, this “crystallized” imagination, having become thing begins to really exist in the world and influence other things. Such imagination becomes reality.

Examples of such a crystallized or embodied imagination can be any technical device, machine or tool, etc. They are created by the combining imagination of man, they do not correspond to any pattern existing in nature, but they reveal the most convincing, effective, practical connection with reality, because, having incarnated, they have become as real as other things.

L.S. Vygotsky says that a child's play "is not a simple recollection of what has been experienced, but a creative processing of the experienced impressions, combining them and constructing from them a new reality that meets the needs and attraction of the child himself."

Is it possible to develop the creative qualities of children? It is possible, since learning and creativity, according to scientists (T.S. Komarova, D.V. Mendzheritskaya, N.M. Sokolnikova, E.A. Flerina, etc.). Creative learning is the way of development of children's creativity, points out E.A. Flerina, that is, creativity should permeate the entire learning process. Scientists believe that it is important to create the necessary conditions for the development of children's creativity; provide a place for children's creative games; create an atmosphere of insatiability, freedom; activate, stimulate children's imagination; provide good pedagogical guidance.

In pedagogical literature, the concept of "theatrical play" is closely related to the concept of "play-dramatization". Some scientists identify these concepts, others consider dramatization games to be a kind of role-playing games. So, according to L.S. Furmina, theatrical games are games - performances in which a literary work is played out in faces with the help of such expressive means as intonation, facial expressions, gestures, posture and gait, that is, specific images are recreated. Theatrical and gaming activities of preschool children, according to L.S. Furmina, takes two forms: when the actors are objects (toys, dolls) and when the children themselves, in the form of a character, play the role they have taken on. The first games (subject) are various types of puppet theater; the second games (non-objective) are dramatization games. A slightly different approach in the works of L.V. Artemova. According to her research, theatrical games differ depending on the leading ways of emotional expressiveness, through which the theme, plot is played out. All theatrical games in this case are divided into two main groups: director's games and dramatization games. Director's games include tabletop, shadow theatre, theater on the flannelograph. In these games, a child or an adult acts for all the characters.

The table theater is traditionally used theater, toys, picture theater. Other types of table theater are now appearing: can theater, knitted theater, box theater, etc.

To the games-dramatizations of L.V. Artemova classifies games based on the actions of the performer of the role (adult and child), who at the same time can use bibabo puppets or finger theater put on his hand, as well as costume elements.

Game-dramatization in science is defined as “pre-aesthetic activity” (A.N. Leontiev) and is one of the forms of transition to productive, aesthetic activity with its characteristic motive for influencing other people. The game-dramatization is considered as a kind of artistic activity of preschoolers and meets their needs for something unusual, for the desire to transform themselves into the images of fairy-tale characters, to imagine, to feel like someone else.

N.S. Karpinskaya notes that the results of the activities of preschoolers in the game of dramatization are not yet art; however, by reproducing the content, children convey the images of the characters to the extent that it is available to them, therefore, there is an achievement that gives the right to consider dramatization play as an approximation to artistic activity, especially at older preschool age.

Conclusions

Artistic and creative abilities are one of the components of the overall personality structure. Their development contributes to the development of the personality of the child as a whole.

Theatrical activity creates conditions for the development of creative abilities. This type of activity requires from children: attention, ingenuity, speed of reaction, organization, ability to act, obeying a certain image, transforming into it, living its life. Therefore, along with verbal creativity, dramatization or theatrical production is the most frequent and widespread type of children's creativity.

In the field of music education, the problem of child development through theatrical activity was reflected in the works of L.L. Pilipenko (formation of emotional responsiveness in younger schoolchildren), I.B. Nesterova (formation of sociocultural orientations), O.N. Sokolova-Naboychenko (musical and theatrical activities in additional education), A.G. Genina (formation of musical culture), E.V. Alexandrova (development of the perception of the musical image in the process of staging a children's opera).

However, the possibilities of theatrical activity of children in the musical development of children have not yet been the subject of a special study.

Consider the theatrical activities of preschoolers in the aspect of theatrical games.

The theatrical game is very closely related to the role-playing game and is a variation of it.

Role-playing game and theatrical game have a common structure (structure). They include substitutions, plot, content, game situation, role, role-playing actions.

Creativity is manifested in these types of games in the fact that children creatively produce everything they see around: the child conveys his feelings in the depicted phenomenon, creatively implements the idea, varies his behavior in the role, uses objects and substitutes in the game in his own way.

In pedagogical literature, the concept of "theatrical play" is closely related to the concept of "play-dramatization". Some scientists identify these concepts, others consider dramatization games to be a kind of role-playing games.

2. Musical development of preschoolers in the process of theatrical activities

2.1 Musical development of preschool children

Music, like other forms of art, is a specific form of artistic reflection of reality. By deeply and diversely influencing the feelings, the will of people, music is able to have a beneficial effect on their social activities, influence the formation of personality.

The effect of the educational role of music, as well as the direction and nature of its social impact, appear to be the most important criteria that determine the social significance of music, its place in the system of spiritual and cultural values.

Today, when the world of music is represented by an extremely wide range of different styles and directions, the problem of educating the listener in good taste, capable of distinguishing highly artistic examples of musical art from low-grade ones, becomes especially relevant. Therefore, it is very important to form high spiritual needs and versatile artistic abilities in the younger generation. For this, it is necessary to use highly artistic samples of music from different cultures and, of course, the music of one's own people in the daily practice of musical education and upbringing of children.

Music plays a special role in the upbringing of a child. A person comes into contact with this art from birth, and he receives purposeful musical education in kindergarten - and later at school. Musical education is one of the means of shaping a child's personality. In musical education, the perception of music by children is the leading activity. Both performance and creativity of children are based on vivid musical impressions. Information about music is also given based on its "live" sound. Developed perception enriches all the musical abilities of children, all types of musical activities contribute to the development of the child's abilities.

According to experts, preschool age is a synthesistic period for the formation of musical abilities. All children are naturally musical. Every adult needs to know and remember this. It depends on him and only on him what the child will become in the future, how he will be able to dispose of his natural gift. "The music of childhood is a good educator and a reliable friend for life."

The early manifestation of musical abilities indicates the need to start the musical education of the child as early as possible. The time lost as an opportunity for the formation of the intellect, creative and musical-sensory abilities of the child will go irretrievably. Therefore, the area of ​​research is the method of musical education of children of senior preschool age.

Preschool age is the period when the initial abilities are laid, which determine the possibility of introducing the child to various types of activities. As for the field of musical development, it is here that examples of the early manifestation of musicality are found, and the task of the teacher is to develop the musical abilities of the child, to acquaint the child with music. Music has the ability to cause active actions of the child. He separates the music from all sounds and focuses his attention on it. Therefore, if music has such a positive effect on the child already in the first years of his life, then it is necessary to use it as a means of pedagogical influence. In addition, music provides rich opportunities for communication between an adult and a child, creates the basis for emotional contact between them.

The child, imitating an adult, sings along individual sounds, the ends of phrases, and then simple songs and sing-alongs, later the formation of actual singing activity begins. And here the task of the teacher is to strive to develop singing sound in children, to increase the amount of vocal and choral skills available for this age. Children can be led to the fact that they would convey in singing their attitude to the work being performed. For example, some songs should be sung cheerfully and cheerfully, while others should be sung gently and affectionately.

To remember something, passive listening is not enough, you need an active analysis of music. Visual aids in the music lessons of preschoolers are necessary not only for a more complete disclosure of the musical image, but also to maintain attention. Without visual aids, children very quickly become distracted. V.A. Sukhomlinsky wrote: “the attention of a small child is a capricious “creature”. It seems to me a shy bird that flies away from the nest as soon as you try to get close to it. When it was finally possible to catch a bird, then you can keep it only in your hands or in a cage. Don't expect songs from a bird if it feels like a prisoner. So is the attention of a small child: "if you hold him like a bird, then she is your bad helper."

In the development of all types of musical activity of preschool children, the formation of musical and sensory abilities is especially important. The basis of this formation is the child's listening, discrimination and reproduction of the four properties of musical sound (pitch, duration, timbre and strength).

Understanding the problem of developing musical perception in such a broad sense, the teacher encourages children to listen to the sound of music throughout the lesson. Only when the music in the lesson ceases to be a sound background, when the constantly changing nature, mood expressed in it, the children will feel and realize, express in their performing and creative activities, the acquired skills and abilities will benefit musical development. This will contribute to the main task of musical education - the development of emotional responsiveness, instilling interest and love for music.

Modern approaches to the musical education of preschoolers.

At present, little attention is paid to the formation of musical and sensory abilities of children. Meanwhile, the studies of such famous scientists and teachers as Vygotsky L.S., Teplov B.M., Radynova O.P. prove the possibility and necessity of the formation of memory, imagination, thinking, abilities in all children without exception. The subject of the study was specially organized music classes, in which musical didactic games and manuals were the leading activity. Based on this, the object of the study is the use of visual-auditory and visual-visual methods in combination with verbal ones, as the most effective in the musical and sensory development of preschoolers.

Unfortunately, work on musical and sensory education in preschool institutions is not always organized at the proper level. Obviously, this is due to the lack of material base, the lack of ready-made musical and didactic manuals in the trading network.

Of course, the very organization of the use of musical and didactic games requires the teacher to understand the significance and value of the musical and sensory development of children, great creativity and skill, the ability and desire to aesthetically produce and arrange material, and not every music director has such abilities.

In pedagogy, there are various approaches to the characterization and classification of teaching methods, the most common are: visual, verbal and practical methods.

In the musical education of children, the following types of musical activity are distinguished: perception, performance, creativity, musical and educational activities. All of them have their own varieties. Thus, the perception of music can exist as an independent type of activity, or it can precede and accompany other types. Performance and creativity is carried out in singing, musical and rhythmic movements and playing musical instruments. Musical educational activities include general information about music as an art form, musical genres, composers, musical instruments, etc., as well as special knowledge about the methods of performance. Each type of musical activity, having its own characteristics, involves mastering by children those methods of activity, without which it is not feasible, and has a specific impact on the musical development of preschoolers. Therefore, it is important to use all types of musical activities.

The perception of a child and an adult, due to different musical and life experiences, is not the same. The perception of music by young children is characterized by an involuntary character, emotionality. Gradually, with the acquisition of some experience, as he masters speech, the child can perceive music more meaningfully, correlate musical sounds with life phenomena, and determine the nature of the work. In children of older preschool age, with the enrichment of their life experience, the experience of listening to music, the perception of music gives rise to more diverse impressions.

The difference in the nuances of music develops in children from an early age. At each age stage, the child distinguishes the most vivid expressive means with the help of the possibilities that he possesses - movement, word, game, etc. Therefore, the development of musical perception should be carried out through all types of activities. Listening to music comes first. Before performing a song or dance, the child listens to music. Receiving various musical impressions from childhood, the child gets used to the intonation language of folk classical and modern music, accumulates experience in perceiving music that is different in style, comprehends the “intonation dictionary” of different eras. The famous violinist S. Stadler once remarked: “In order to understand a beautiful fairy tale in Japanese, you need to know it at least a little.” The acquisition of any language begins in early childhood and the language of music is no exception. Observations indicate that young children enjoy listening to the ancient music of J. S. Bach, A. Vivaldi, W. A. ​​Mozart, F. Schubert and other composers - calm, cheerful, affectionate, playful, joyful. They react to rhythmic music with involuntary movements. Throughout preschool childhood, the circle of familiar intonations expands, consolidates, preferences are revealed, the beginnings of musical taste and musical culture as a whole are formed.

The perception of music is carried out not only through listening, but also through musical performance - singing, musical and rhythmic movements, playing musical instruments.

For the formation of musical and auditory representations, it is important to know that musical sounds have different pitches, that a melody is made up of sounds that move up, down or repeat at the same pitch. The development of a sense of rhythm requires the knowledge that musical sounds have different lengths - they are long and short, that they move and their alternation can be dimensional or more active, that rhythm affects the character of music, its emotional coloring, makes different genres more recognizable. The formation of a motivated assessment of musical works, in addition to the accumulation of auditory experience, requires certain knowledge about music, its types, composers, musical instruments, means of musical expression, musical genres, forms, mastery of some musical terms (register, tempo, phrase, part, etc.)

Musical educational activities do not exist in isolation from other types. Knowledge, information about music is given to children not by itself, but in the process of perception of music, performance, creativity, along the way, to the place. Each type of musical activity requires certain knowledge. For the development of performance, creativity, special knowledge is needed about the methods, techniques of performance, means of expression. While learning to sing, children acquire the knowledge necessary to master singing skills (sound formation, breathing, diction, etc.). In musical and rhythmic activity, preschoolers master various movements and ways of performing them, which also requires special knowledge: about the fusion of the nature of music and movements, about the expressiveness of the game image and its dependence on the nature of the music, on the means of musical expression (tempo, dynamics, accents, register, pauses). Children learn the names of dance steps, learn the names of dances, round dances. Learning to play musical instruments, children also gain certain knowledge about the timbres, methods, techniques of playing different instruments.

Children show inclinations towards certain types of musical activities. It is important to notice and develop in each child the desire to communicate with music, in the form of musical activity in which he shows the greatest interest, in which his abilities are most fully realized. This does not mean that other types of musical activity should not be mastered by him. However, it is impossible not to take into account the position of psychology on the leading types of activities that influence the development of the individual. If these leading types of activity appeared in preschool childhood, it is necessary to take into account the characteristics of each child and, accordingly, orient the process of musical education towards the development of precisely his abilities, inclinations, and interests. Otherwise, as we have already noted, the learning process is reduced to "training". If training is carried out without an individually differentiated approach, it ceases to be developing.

In connection with the ongoing changes in the cultural and moral sphere of the life of Russian society, the role of raising children from an early age is increasing. According to many authors, one of the ways to overcome negative phenomena in the spiritual sphere can be the musical education of children at the earliest stages.

"Lessons" of music not only introduce children to musical instruments, but also allow them to master the basics of vocal breathing, develop their voice and ear, and broaden their horizons.

The children listen to classical music, put on theatrical sketches aimed at developing the emotional-figurative sphere. The musical development of young children encourages kids to be creative, and helps parents and teachers to quickly reveal the talents and aspirations of the child.

Such scientists and teachers as Asafiev, Vinogradov, Gusev, Novitskaya and many others single out folk musical creativity as the basis for musical education and upbringing of children. Folk art serves as the highest manifestation of historical authenticity, lofty ideals and developed aesthetic taste.

The moral and aesthetic content of folk musical and poetic creativity, the enduring value of its pedagogical and psychotherapeutic possibilities convince of the need to preserve and widely use folklore in the modern practice of upbringing and education. Turning to folk culture as a source of education, one can find fertile ground for the formation and development of various qualities in children: intellectual, moral, aesthetic.

The use of folklore material in musical education inevitably leads to the search for new forms and methods of working with children, where the child is not just an object of education, but becomes a participant in a creative act, which in turn activates the development of his musical and creative abilities.

2.2 The specifics of theatrical activities in the process of musical development of children

Modern psychological and pedagogical science has data that all types of art develop in children not only artistic abilities, but also “a universal universal human ability, which, being developed, is realized in any sphere of human activity” (E.I. Ilyenkov) - ability to be creative. And the sooner the child encounters art, the more effective the process of developing this ability will be.

As you know, the theater is one of the most visual forms of artistic reflection of life, based on the perception of the world through images. A specific means of expressing the meaning and content in the theater is a stage performance that arises in the process of interaction between actors. However, in the field of primary musical education of children, musical and theatrical activity seems to be the least developed direction, while its effectiveness is obvious, as evidenced by numerous psychological and pedagogical studies.

Musical education is a synthesis of various activities. The process of musical education includes all types of musical activities, including theatrical performance. In music lessons, theatricalization should occupy a significant place, along with other activities, theatricalization has a great influence on the development of a child's creative abilities, imaginative thinking.

In the process of theatrical games, an integrated upbringing of children takes place, they learn expressive reading, plasticity of movement, singing, playing musical instruments. A creative atmosphere is created that helps each child to reveal himself as an individual, to use his own abilities and abilities. In the process of creating theatrical performances based on musical works, another side of art opens up for the child, another way of self-expression, with the help of which he can become a direct creator.

Depending on the methods of teaching music used, the teacher can take theatricalization as the basis for the classes. Elements of theatricalization can be used both during entertainment events and holidays, and in basic classes, starting with the younger group. In the process of musical education of children, the exercises performed by the child gradually become more complicated, and at the same time, its self-realization in the creative sphere also increases.

Theatrical performances, playing musical works occupy an important place in the holistic musical education of the child. Theatricalization allows a child of any age and gender to discover the opportunity to "play" and learn at the same time. This type of activity is available to everyone and has a beneficial effect on the creative development of the child, his openness, emancipation, allows you to save the child from unnecessary shyness and complexes.

By its nature, theatrical art is closest to the children's role-playing game, which develops as the basis for the relatively independent functioning of the children's community and by the age of 5 takes the position of the leading activity of children. The most important component of children's play and theater is the role of assimilation and knowledge of the surrounding reality, as its artistic reflection. In play activity, the role is mediated through the play image, and in the theater - through the stage image. The forms of organization of these processes are also similar: - game - role-playing and acting. Thus, theatrical activity meets the natural conformity of this age, satisfies the child's basic need - the need for play and creates conditions for the manifestation of his creative activity.

As a rule, fairy tales serve as material for the stage embodiment, which give "an extremely bright, wide, ambiguous image of the world." Participating in dramatization, the child, as it were, enters the image, reincarnates into it, lives its life. This is perhaps the most difficult implementation, because. it is not based on any reified pattern.

In this case, the number and volume of sensory-perceptual analyzers (visual, auditory, motor) increase in children.

The natural predisposition of preschoolers to “humming” and “dancing” explains their keen interest in the perception of a musical and theatrical performance and participation in it. Satisfying these age-related needs in musical and theatrical creativity frees the child from complexes, gives him a sense of his own identity, brings the child a lot of joyful minutes and great pleasure. The perception of “singing words” in a musical performance becomes more conscious and sensual due to the connection of sensory systems, and their own involvement in the action allows the child to look not only at the stage, but also into “himself”, catch his experience, fix it and evaluate it.

Introducing children aged 5-8 years to musical and theatrical creativity in the conditions of groups of musical and aesthetic development.

Theatricalization in work with children must be applied from a very young age. Kids are happy to depict the habits of animals in small scenes, imitating their movements, voices. With age, the tasks of theatrical activities become more complicated, children stage small fairy tales, poetic works. Teachers should also be involved in theatricalization, who, like children, will take on the roles of heroes of fairy tales. It is also important to involve parents in the preparation of performances, thereby bringing the family closer to the life of children in kindergarten. Joint activities of adults, older children and our pupils create a mutual interest in the theatrical type of activity.

The perception of musical art is impossible without the subjective and creative acceptance of the musical image, then there is a need to expand the content of familiarizing preschoolers with musical art and, above all, to reconsider the attitude to sensory standards associated with the world of sounds.

It is known that the basis of the musical image is the sounding image of the real world. Therefore, for the musical development of a child, it is important to have a rich sensory experience, which is based on a system of sensory standards (height, duration, strength, timbre of sound), really represented in the sounding images of the world (for example, a woodpecker knocks, a door creaks, a stream murmurs, etc.). d.).

At the same time, the process of musical activity is built mainly on artificially created images that have no sound and rhythmic analogy in the surrounding reality (dolls sing, hares dance, etc.), all this can be played with theatricalization.

Theatrical activity of children includes several sections: the basics of puppetry, acting, game creativity, imitation of musical instruments, song and dance creativity of children, holding holidays and entertainment.

For classes, entertainment and performances, together with educators and parents, it is necessary to make scenery, attributes, masks, costumes of fairy-tale characters, emblems, noise musical instruments (jars with cereals, pebbles; boxes with sticks, etc.)

With kids, you can pay attention to the reflection of fabulous images of animals, analyze the nature of the movement, intonation: a large and small bird flies, funny and sad hares, snowflakes spin, fall to the ground. Use psycho-gymnastics exercises: it's raining, the wind is blowing, the sun is shining, a cloud.

In general, it is necessary to ensure that children convey the mood, change their facial expressions, see off work with children. An important aspect is to encourage children to participate in dramatizations, the desire to play a role. In the process of learning, children learn to correctly name the theater equipment, treat it with care, navigate in the space of the hall, and follow the development of the action. great attention you need to pay attention to the child's speech, the correct pronunciation of words, the construction of phrases, trying to enrich the speech. Together with the children, you can compose small stories, together come up with the dialogues of the characters. Children can independently compose and beat any story.

Older preschoolers can compose melodies in the lullaby genre for a bear, a doll, etc. In dance art, attention should be paid to fostering interest and a desire to move in various images - animals, snowflakes, parsley. In the classroom, various attributes should be used: flowers, leaves, ribbons, fireworks, handkerchiefs, cubes, balls, etc.

An important stage of theatrical activity is the work on the acting skills of children. As an example, you can invite the child to show the image of a delicious candy, a cowardly bunny, etc.

In older groups, it is necessary to achieve expressive speech, the development of ideas about moral qualities, the rules of behavior for spectators at the performance. With the help of theatrical activities, children learn to express their attitude to what is happening more accurately, learn to be polite, attentive, get used to the image, be able to analyze their game and the performance of other characters, learn new techniques for playing musical instruments.

Theatrical activity leaves a lot of scope for the creativity of the child himself, allows him to invent this or that scoring of actions himself, to select musical instruments for performance, the image of his hero. If desired, children should be able to choose their own roles, without any coercion.

It is possible to use games for attention, fantasy, I achieve a vivid transfer of a diverse image. In dance creativity, the child gets the opportunity to get a cheerful self-affirming self-confidence, which becomes an excellent background for the development of his intellectual sphere.

Supporting the initiative of improvising on musical instruments, singing, dancing and theatrical activities allows children to develop a "live" interest in music lessons, turn them from a boring duty into a fun performance. Theatrical activity contributes to the mental and physical development of the child, allows, within the framework of the theatrical game, to learn about the norms, rules and traditions of the society in which he lives.

You can use the following musical equipment:

Musical instruments for the work of a music director;

Children's musical instruments;

Musical toy;

Musical and didactic aids: teaching and visual material, board musical and didactic games;

Audiovisual aids and special equipment for them; equipment for artistic and theatrical activities;

Attributes and costumes.

Thus, theatrical activity, in the process of musical education of children, performs a socializing function and thus gives impetus to the further development of the child's abilities.

Musical and 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.

Musical and 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.)

Musical and theatrical activity is a synthetic form of work with children on musical and artistic education. It includes:

Perception of music;

Song and game creativity;

plastic intonation;

Instrumental music making;

Artistic word;

Theatrical games;

Stage action with a single artistic concept.

The most effective when listening to music are the following methodological techniques:

- "Listen and tell"

- "Listen and dance"

- "Listen and play"

- “Listen and sing”, etc.

In addition to listening and singing, great attention in musical and theatrical work is paid to such activities as rhythmic movements, plasticity, and dance improvisations. In productions of fairy tales or musicals, figurative dances of heroes occupy one of the brightest and most interesting places.

Theatrical activity includes the following points of musical development:

1. Dramatization of songs;

2. Theatrical sketches;

3. Entertainment;

4. Folklore holidays;

5. Fairy tales, musicals, vaudeville, theatrical performances.

ON THE. Vetlugina, in her research, comprehensively analyzed the possibilities of children in performing creative tasks, the origins of children's creativity, the ways of its development, substantiated the idea of ​​interconnection, interdependence of learning and creativity of children, theoretically and experimentally proving in her works that these processes do not oppose, but are in close contact, mutually enrich each other. It was found that the necessary condition for the emergence of children's creativity is the accumulation of impressions from the perception of art, which is a model for creativity, its source. Another condition for children's musical creativity is the accumulation of performing experience. In improvisations, the child emotionally, directly applies everything that he has learned in the learning process. In turn, learning is enriched by the creative manifestations of children, acquires a developing character.

Children's musical creativity, like children's performance, usually has no artistic value for the people around them. It is important for the child himself. The criteria for its success is not the artistic value of the musical image created by the child, but the presence of emotional content, the expressiveness of the image itself and its embodiment, variability, and originality.

In order for a child to compose and sing a melody, he needs to develop basic musical abilities. In addition, the manifestation of creativity requires imagination, fantasy, free orientation in unusual situations.

Children's musical creativity is by its nature a synthetic activity. It can manifest itself in all types of musical activity: in singing, rhythm, playing children's musical instruments. It is important to form song creativity, starting from the younger preschool age, using creative tasks that are feasible for children. The success of children's creative manifestations depends on the strength of singing skills, the ability to express certain feelings, moods in singing, to sing clearly and expressively. In order to orient preschoolers in the song work of N.A. Vetlugina offers exercises for the accumulation of auditory experience, the development of musical and auditory representations. It is important to draw children's attention to the expressiveness of their improvisation even in the simplest exercises. In addition to singing, children's creativity can manifest itself in rhythm and playing musical instruments. The creative activity of children in rhythm largely depends on the organization of teaching musical and rhythmic movements. The full-fledged creativity of a child in rhythm is possible only if his life experience, in particular musical and aesthetic ideas, is constantly enriched, if there is an opportunity to show independence.

Increased attention should be paid to the selection of musical works that serve as a scenario for independent actions of children. Program music occupies a leading place in creative tasks, since a poetic text and a figurative word help the child to better understand its content.

The instrumental creativity of children, as a rule, manifests itself in improvisations, i.e. composing while playing an instrument, direct, momentary expression of impressions. It also arises on the basis of children's life and musical experience.

One of the conditions for successful instrumental creativity is the possession of elementary skills in playing musical instruments, various methods of sound production that allow you to convey the simplest musical images (clatter of hooves, magical falling snowflakes). It is important that children understand that when creating any image, it is necessary to express the mood, the nature of the music. Depending on the nature of the image to be conveyed, children choose certain expressive means, this helps children to feel and understand the features of the expressive language of music more deeply, encourages independent improvisation.

All of the above conditions are observed in theatrical activities. Thus, we can conclude that the process of theatrical activity is inextricably linked with the musical development of the child.

2.3 Analysis of programs combining theatrical activities and musical education

Let's consider them in more detail.

1. Creative group edited by K.V. Tarasova, M.L. Petrova, T.G. Ruban "Synthesis".

"Synthesis" is a program for the development of musical perception in children based on the synthesis of art. This is a music listening program. The group of authors of the program based their work on the fact that initially, in the early stages of development, the human history of art was syncretic in nature and included the rudiments of verbal and musical art, early forms of choreography and pantomime. The authors use the principle of syncretism of art in music lessons with children: "synthesis makes it possible to combine different arts in the interests of their mutual enrichment, enhancing figurative expressiveness."

“The upbringing of this kind of “artistic polyglots” should begin in childhood, since a syncretic orientation in the world and the syncretic nature of artistic and creative activity are natural for a child.” The most fruitful, according to the authors, is the synthesis of music, painting, literature, which provides great opportunities for the development of the child's artistic culture.

This program is based on the interaction of several principles for organizing music lessons with children:

Special selection of musical repertoire;

Using the synthesis of the arts;

The use of other types of musical activities of children as auxiliary in the classroom for listening to music: singing, playing in the orchestra, conducting.

Development of some blocks of the content of music lessons and their plot outline.

The musical repertoire of the program includes works from different eras and styles, which meet two leading principles - high artistry and accessibility. Based on the fact that the program is based on the synthesis of the arts, its authors also turned to musical genres, which are based on an organic synthesis of several arts - to opera and ballet. In an effort to make them accessible to children, preference is given to a fairy tale - a fairy tale in an opera and a fairy tale in a ballet.

The musical works of the program are combined into thematic blocks and are given in them in order of increasing complexity. Block themes for children 5 years of age “Nature in music”, “My day”, “Russian folk images”, “Fairy tale in music”, “I am learning notes”, etc.

The works of visual arts offered in the program are not limited to the task of giving only knowledge about those objects, events, characters that are reflected in sounds. Both paintings and sculptures are offered as a variant of figurative understanding of music at the level of associative links. It awakens the creative imagination of the child, stimulates his figurative thinking. The landscapes of A. Savrasov, I. Levitan, I. Grabar help create a poetic atmosphere and serve as a kind of overture that tunes in to the perception of music dedicated to pictures of Russian nature (P. Tchaikovsky, S. Prokofiev, G. Sviridov).

Work on the program involves the variability of classes. The authors recommend separating listening to music into an independent activity, and spends it in the afternoon. The package of materials, along with the program, includes: "Anthology of the musical repertoire", "Methodological recommendations", a cassette with a studio recording of musical works, a set of slides, video cassettes and filmstrips.

The SYNTHESIS program for children of the 6th year of life is built on the same scientific foundations and methodological principles and solves the same set of tasks for the musical and general artistic development of the child as the SYNTHESIS program for children of the 5th year of life. At the same time, its content and forms of its presentation are distinguished by greater depth and complexity, which is associated with the increased capabilities of older preschoolers.

The program has two major sections: Chamber and Symphony Music and Opera and Ballet. In the first of them, children get acquainted with the works of I.S. Bach, J. Haydn, V.A. Mozart, S. Prokofiev. In the second section of the program, children are offered two musical fairy tales - P.I. Tchaikovsky's The Nutcracker and M.I. Glinka Ruslan and Lyudmila. In order for children to get a more complete impression of such complex genres of art as ballet and opera, they are offered video fragments of the ballet The Nutcracker and the opera Ruslan and Lyudmila.

Education according to the program is carried out taking into account the basic principles of developmental education: emotional stimulation of educational and cognitive activity, the development of cognitive interest in the child, the development of his mental functions, creative abilities and personal qualities. In the classroom, developmental teaching methods are widely used, with the help of which the teacher solves the educational task facing him - ensuring that children have a positive motivation for their actions in mastering the musical and theatrical art.

Creating situations of success in the classroom according to the program is one of the main methods of emotional stimulation and is a chain of such situations specially created by the teacher in which the child achieves good results, which leads to a feeling of self-confidence and “ease” of the learning process. Emotional arousal activates the processes of attention, memorization, comprehension, makes these processes more intense and thereby increases the effectiveness of the goals achieved.

The method of forming the readiness to perceive educational material using the zone of proximal development and the method of stimulating entertaining content in the selection of bright, figurative texts are the main methods for developing children's cognitive interest in the theater.

The method of creating problem situations is to present the lesson material in the form of an accessible, figurative and vivid problem. Children, due to their age characteristics, are distinguished by great curiosity, and therefore any clearly and easily stated problem immediately “ignites” them. The method of creating a creative field (or the method of solving problems of a divergent nature) is the key to ensuring a creative atmosphere in the team. Work "in the creative field" creates the possibility of finding different ways to solve problems, finding new artistic means of embodying the stage image. Each new discovery of one

A valuable method of stimulating interest in musical and theatrical activities is the method of using various game forms in organizing children's activities. The method of transferring game activity to a creative level is the introduction of new elements into a well-known and familiar game for children: an additional rule, a new external circumstance, another task with a creative component, or other conditions.

The main form of conducting classes under the Theater Steps program is a game. Game training as a special form of communication in the process of musical and theatrical activity of preschoolers is a set of specially selected tasks and exercises aimed at developing their basic mental processes (attention, memory, imagination, speech), which, according to theater teachers (K.S. Stanislavsky, L.A. Volkov), the fundamental components of acting, as well as the development of musicality, vocal-auditory and musical-motor skills and abilities.

The program has a certain logic of mastering educational material: the initial orientation of children in the means of acting expressiveness and their mastering of the elementary skills of musical stage transformation (improvisation, fantasizing, etudes), the development and consolidation of these skills in productive activities, namely in musical and theatrical productions; formation of basic knowledge about the emergence and development of theatrical art, including musical theater.

The content of the classes is aimed at mastering by children the individual and collective actions of perception of the surrounding reality, its analysis and control; on the orientation of children in the means of acting expressiveness based on pantomimic and verbal-emotional improvisations, as well as on the development of vocal-choral and musical-rhythmic components of musical and stage activity by children; to master the skills of verbal actions and stage speech; on the inclusion of children in active productive and creative activities.

In accordance with the logic of mastering the material, the program is designed for three years of study, classes are built on the principle of increasing the volume of children's activities depending on the year of classes.

I. The “theatrical primer”, the so-called “first step”, is a cycle of integrated lessons that includes games for the development of attention, imagination, the development and differentiation of vocal-auditory and musical-motor coordination, as well as musical-auditory sensations.

The development of theatrical creativity begins with the propaedeutic stage - specially organized communication of preschoolers within the framework of theatrical creativity, which gradually introduces the child into the most entertaining world of theater. This communication is carried out in the form of game training, which is a way for the child to adapt to a new team; a means of developing purposeful actions for mastering the surrounding reality; a condition for the personal development and creative growth of the child.

This type of activity helps children to live and understand this or that situation, activates the desire of children to act, develops readiness to positively accept the positions of another person, and contributes to the development of qualities necessary for further life in society.

During the first year of study, children develop:

Collective action skills (control and evaluation of one's own actions and the actions of comrades, commensuration of one's actions with the actions of other children, interaction);

The skills to perceive and control the objects of the surrounding reality through visual, auditory and tactile analyzers and the skills of psychophysical and emotional liberation through the activation of the muscles of the face and body are developed;

Initial generalized ideas about the concepts of “artistic image”, “means of creating an artistic image” are formed

Specific elementary skills are being formed to create this image by various artistic, stage and musical means (pantomime, voice intonation, timbres of children's musical instruments);

The foundations of stage speech are laid;

Vocal-choral skills and skills of musical-rhythmic movements are being formed.

II. “Musical theater”, the so-called “second step”, is a class where children are involved in the creative work of staging a musical performance. The skills acquired in the process of studying at the “first step” are developed and consolidated by children in productive musical and stage activities.

Thus, this stage is reproductive and creative. Classes in the “Musical Theater” section of the program are designed to combine all the abilities of the child and the acquired skills and abilities to maximize the use of his creative potential when creating a musical performance as a creative product of a large team of small actors.

In the process of studying at this "step" in children, the following is carried out:

Rethinking the previously acquired skills and abilities on a new specific musical stage material;

There is a further refinement of the concepts of "artistic image" and "means of creating an artistic image";

Initial ideas about the concepts of “performance”, “role”, “stage of a performance”, “actor ensemble” are formed;

There is a further development of stage speech, the formation of skills of verbal actions (emotional immersion in spoken words);

Development of vocal and choral skills and skills of musical and rhythmic movements;

A steady interest is being formed in theatrical art in general and in musical theater in particular.

At this stage, it is typical to use such forms of organizing musical and theatrical activities as drama theater and staging musicals. An example of a musical piece is L. Polyak's play "Turnip" (see Appendix).

III. “Conversations about the theater”, the so-called “third step” is the third year of classes, where, along with the continuation of training and staging classes, children acquire basic knowledge about the history of the emergence and development of theatrical art.

"Conversations about the theater" is a systematic cycle of problem-search activities, in which, satisfying their interest, children are engaged in research activities to study the nature of the theater in general, and music in particular. The solution of the educational tasks put forward by the program is provided by a certain logic of the presentation of the educational material, presented below.

In the course of classes in this section, children master already known concepts at a new level through the use of new theatrical terminology and further mastering the basic elements of musical and stage activity in new theatrical productions.

The methodological support of the Theater Steps program includes a set of specially designed manuals and practical materials (“Theatre Steps: ABC of Games”, “Theater Steps: Musical Theatre”, “Theatre Steps: Talks about the Theater”). Educational developments for children (“Musical Theater Guide”) provide for the independent performance of some tasks by the child at home in order to consolidate the impressions of the information received in the classroom.

The practice of working on this program shows that by the end of the third year of study, children adequately perceive, analyze the images of the surrounding reality and creatively reflect them, embodying ideas and fantasies by means of acting expressiveness. They master the necessary elementary knowledge, skills and abilities of a young musical theater actor, which include pantomime, artistic expression, singing and musical movements, and apply the acquired knowledge, skills and abilities in practice in the process of staging a musical performance as a performer of a specific role.

Children show a steady interest in musical and theatrical art and an age-appropriate level of musical and theatrical literacy, erudition and audience culture, which is ensured by the conscious perception of works of musical and theatrical genres (opera, ballet, operetta, musical, etc.).

conclusions

Music plays a special role in the upbringing of a child. Preschool age is the period when the initial abilities are laid, which determine the possibility of introducing the child to various activities, including music.

In the musical education of children, the following types of musical activity are distinguished: perception, performance, creativity, musical and educational activities.

The musical component of theater classes expands the developmental and educational possibilities of the theater, enhances the effect of emotional impact on both the mood and the worldview of the child, since the coded musical language of thoughts and feelings is added to the theatrical language of facial expressions and gestures.

Theatrical activity leaves a lot of scope for the creativity of the child himself, allows him to invent this or that scoring of actions himself, to select musical instruments for performance, the image of his hero.

When analyzing training programs that combine theatrical performance and musical education, he showed that almost all the programs used are based on the updated "Program of Education and Training in Kindergarten" ed. M.A. Vasilyeva.

In addition to the M.A. Vasilyeva use technologies with the use of theatrical activities, such as: E.G. Churilova "Methodology and organization of theatrical activities of preschoolers and younger schoolchildren", A.E. Antipina "Theatrical activity in kindergarten" and S.I. Merzlyakova "The Magical World of the Theatre".

At the same time, the programs of the creative group "Synthesis" and the author's program of E.G. Sanina "Theatre steps".

Conclusion

From a very early age, a child needs to be enriched with vivid artistic impressions, knowledge, and the ability to express their emotions. This contributes to the manifestation of creativity in various activities. Therefore, it is very important to introduce children to music, painting, literature and, of course, theater.

Artistic and creative abilities are one of the components of the overall personality structure. Their development contributes to the development of the personality of the child as a whole.

In the psychological and pedagogical literature, both the musical development and theatrical activity of preschoolers are widely considered. However, the possibilities of theatrical activity of children in the musical development of children have not yet been the subject of a special study.

The musical component of theater classes expands the developmental and educational possibilities of the theater, enhances the effect of emotional impact on both the mood and the worldview of the child, since the coded musical language of thoughts and feelings is added to the theatrical language of facial expressions and gestures.

Theatrical activity includes the following moments of musical development: dramatization of songs; theatrical sketches; folklore holidays; fairy tales, musicals, vaudeville, theatrical performances.

When analyzing training programs that combine theatrical action and musical education, he showed that almost all the programs used are based on the updated "Program of Education and Training in Kindergarten" ed. M.A. Vasilyeva.

In addition to the M.A. Vasilyeva use technologies with the use of theatrical activities, such as: E.G. Churilova "Methodology and organization of theatrical activities of preschoolers and younger schoolchildren", A.E. Antipina "Theatrical activity in kindergarten" and S.I. Merzlyakova "The Magical World of the Theatre".

At the same time, the programs of the creative group "Synthesis" and the author's program of E.G. Sanina "Theatre steps".

Based on the results of the analysis of psychological and pedagogical literature, the following conclusion can be drawn: the process of theatrical activity of a preschooler is inextricably linked with the musical development of the child.

Bibliography:

1. Antipina A.E. Theatrical activities in kindergarten. - M.: VLADOS, 2003. – 103 p.

2. Bekina S.I. Music and movement - M .: Education, 1984 - 146 p.

3. Berezina VG, Childhood of a creative person. - St. Petersburg: Bukovsky publishing house, 1994. - 60s.

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6. Veraksa N.E. Dialectical thinking and creativity. // Questions of psychology. - 1990 No. 4. pp. 5-9.

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9. Vygotsky LN, Imagination and creativity in preschool age. - St. Petersburg: Soyuz, 1997. - 92p.

10. Vygotsky LN, Imagination and creativity in preschool age. - St. Petersburg: Soyuz, 1997. 92p.

11. Godefroy J., Psychology, ed. in 2 volumes, volume 1. - M. Mir, 1992. pp. 435-442.

12. Golovashchenko O.A. Development of the creative potential of an emerging personality through project activities in the lessons of music and choral theater. // Preschool education. - No. 11. - 2002. - P. 12

13. Dyachenko O.M., What does not happen in the world. - M.: Knowledge, 1994. 157p.

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22. Lebedeva L.V. Formation of the foundations of the musical culture of preschoolers through the world of musical fairy tales // Preschool education. - No. 10. - 2007. - P. 21

23. Levin V.A., Education of creativity. - Tomsk: Peleng, 1993. 56 p.

24. Luk A.N., Psychology of creativity. - Nauka, 1978. 125 pages.

25. Methods of musical education in kindergarten / under. Ed. N.A. Vetlugina. - M, 1982

26. Migunova E.V. Organization of theatrical activities in kindergarten: Teaching aid. - Veliky Novgorod: NovGU im. Yaroslav the Wise, 2006. - 126 p.

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Annex 1

Children's Drama Theatre.

Grandfather (addressing the audience).

Is the power of the Mouse great ?!

Well, friendship won!

Pulled a turnip together

That sat firmly in the ground.

Grandmother (turns to Grandfather).

Eat in health, Grandfather,

Long awaited lunch!

Granddaughter (turns to Grandfather).

Treat Grandmother and Granddaughter.

Bug (turns to Grandfather).

Treat the Bug with a bone.

Murka (referring to Grandfather).

Independent artistic activity of preschoolers / Ed. N.A. Vetlugina. - M.: Pedagogy, 1980. - S. 4 (37)

Tanina L.V. The development of creativity in the artistic activity of preschoolers // Proceedings of the All-Russian scientific and practical conference: Problems of preschool education at the present stage. - Tolyatti, 2003. - P. 5 (43)

Lebedeva L.V. Formation of the foundations of the musical culture of preschoolers through the world of musical fairy tales // Preschool education. - No. 10. - 2007. - P. 21 (22)

Krylov E. School of creative personality. - Preschool education. -1992. - No. 8. - S. 11-20 (20)

Ilyenkov E.I. About the "specificity" of art. // Questions of Philosophy. - 2005. - No. 5. - P.132-144. (17)

"Synthesis" program for the development of musical perception in children based on the synthesis of the arts (6th year of life) / edited by K.V. Tarasova - M .: INFRA, 1998 - S. 6 (40)

Savina E.G. The program is theatrical steps in the practice of the development groups of children's music schools and children's art schools. // Yekaterinburg: Methodological Center for Art Education - P. 3 - 4 (36)

Migunova E.V. Organization of theatrical activities in kindergarten: Teaching aid. - Veliky Novgorod: NovGU im. Yaroslav the Wise, 2006. - S. 57 (26)

Solovyanova O.Yu. Musical and theatrical activity as a condition for the intensification of students' vocal development. // Music education: scientific search in solving actual problems of the educational process. - M.: Education, 2009. Volume 1. - P.63-64. (41)

Theatrical and gaming activities in the development of musical abilities of preschoolers

Theatrical and gaming activities help to effectively develop the musical abilities of the child. It is a collection of individual art forms. Musical and theatrical creativity includes almost all types of children's activities: song, dance, game, speech, art, improvisation on children's musical instruments, as well as almost all types of theater - from finger to drama. This type of creative activity has a strong impact on the inner world of the child, causes vivid emotions.
In my professional practice, I widely use theatrical and gaming activities. Moreover, I introduce this game into every type of musical activity. Through creative play, children are liberated, fantasize, compose. They develop speech, imagination, and stiffness is removed.
When engaging with children in theatrical activities, the following tasks are solved:
Educational- aimed at the development of emotionality, intelligence, as well as the development of the communicative features of the child.
Educational tasks- are directly related to the development of artistry and stage performance skills necessary to participate in the children's theater.
In my music lessons with preschoolers, I use the following stages of teaching theater and game activities.

1.Movement -
Children of younger groups master various types of walking, running and jumping. First we learn to walk one at a time, then in groups, and gradually move on to walking in a circle, keeping the distance and “not breaking the circle”. I show the smallest pupils and ask them to repeat the images
"bears", "bunnies", "foxes", "dogs", "cats" and others. Here, such games as "Hen and Goat", "Birds and Cat" are appropriate. These are mobile games with musical accompaniment. Pupils learn to run loose and gather in a "bunch".
Older children consolidate the ability to navigate in space:
walk and run like a snake, move in pairs, distribute themselves in one or another
corner of the hall, gather in a flock in the center, scatter in loose and
find your place again, rebuild into columns.

Starting from the middle group, pupils learn characteristic movements: “angry bear”, “cowardly bunny”, “cunning fox”, “angry dog”, “affectionate cat”, etc.
Children of older preschool age improvise and perform more complex characteristic movements "a bear picks raspberries," a bunny frightenedly runs away from a wolf, "a fox dances", etc.
2.Hearing-
The main goal is to hear the mood of the piece of music. Music should activate the child's imagination, encourage creativity, the use of expressive movements.
If children have learned to listen to music, listen to its intonations, then they
they try to convey the character of music in movements, and they succeed
interesting images.
In the younger group, children listen to works and can perform simple etudes: a walk in a forest clearing (they walk, smell flowers, collect leaves), jump like horses, rock a doll to the Lullaby, etc.
Children of the middle and senior groups listen to music, compose a figurative story, fantasize, invent fairy tales.
Often I give senior groups a creative task, for example: take a walk in the forest, watch forest animals, portray birds with sounds and movements, play an imaginary ball, rejoice, be sad.
Children are happy to depict various sketches to the music.
I try to combine all classes with one plot based on the topics that are combined into blocks: “Seasons”, “Animals”, “Heroes of fairy tales” and others. Elements of etudes find their place in festive dramatizations, performances, round dance games.
3. Expressive reading-
Speech exercises occupy a large place in music lessons. These are counting rhymes, nursery rhymes, jokes, finger gymnastics. My pupils are very fond of staging various nursery rhymes. When we memorize them, we are divided into roles, and we get mini-performances. For example, “Like grandmother Natasha, we ate delicious porridge”, “Robin-Bobin-Barabek”, “Oh, how scary the cowardly bunny is,” etc.
4. Games - dramatizations, round dances, dramatizations of songs -
When learning songs, children remember words better if movements are matched to them. Moreover, the pupils themselves select these movements. Of course, children of younger groups will not be able to do this. They repeat all the gestures of the teacher, and thus learn to come up with their own movements in the future. Starting from the middle group, children can be given tasks: "Let's think about how we can continue to show the movements of this round dance?", "And I would do it like this."
A striking example is the song "Two Merry Geese". The pupils themselves think up the movements - “hid in the groove”, “grandmother screams”, “bowed to the grandmother”, “stretched their necks” and others.
In older groups, children, without the teacher's prompting, come up with round dance movements or dance elements to various music.
Musical dramatization games should be accessible to children
images and content of activity.
First, the children listen to the work chosen for dramatization from
start to finish. We discuss the work as a whole and individual
characters, their character. Children are invited to choose their image.
Next, we learn the text and proceed to execution.
5. Game-improvisation on musical instruments-
How can theatrical and gaming activities be used in teaching children's musical instruments?
I use this technique, combining it with the development of speech. With children, we remember and tell fairy tales, stories, various stories. Then I suggest voicing the characters with various instruments. Children themselves choose one or another instrument and, with my prompting, decide how to play it (quietly or loudly, slowly or quickly, and so on). For example, “The Tale of the Chicken Ryaba”: a grandfather and a woman are characterized by wooden spoons, a chicken by a rattle, a mouse by a rattle, an egg is beating - a blow to a tambourine, a crying grandfather and grandmother - a pipe and the like. Each educator is free to choose the instruments at his own discretion. A musical fairy tale is accompanied by playing the piano or to a phonogram, and children, listening to music, play along with musical instruments, while observing the rhythm, tempo and shades. In general, it turns out to be a fairy tale told by a noise orchestra. Pupils really like such noise orchestras, and in subsequent classes they themselves offer to voice this or that fairy tale or story. Sometimes, together with the children, we ourselves come up with the plot of the story and beat it. I begin to apply such training in playing musical instruments from the middle group.
6. Staging performances, fairy tales, dramatizations -
Preparing for a performance requires some preparation. First, I introduce the children to the script, discuss it, characterize the characters. Then comes the process of learning songs and dances selected for the performance. Roles are assigned and words are learned. Music is selected, children learn the role better to certain music and even begin to improvise. Parents are involved in the performance. I consult with them, and they are happy to help in creating costumes and scenery. And finally, the performance is shown. Children at the performance (according to my observation) have a great emotional upsurge, a sense of responsibility is brought up.
In younger groups, the main roles are played by adults - educators, and we even involve parents, and children play along with them. But the younger pupils here are not spectators, but full participants in the performance. Starting from the middle group, I select the simplest scenarios with roles for children. In the senior and preparatory groups, my pupils are independent actors.

As a result of applying this technique, children learn to build relationships, resolve conflict situations, analyze their own behavior and the behavior of others, and draw conclusions. It can be argued that musical and theatrical activity is a source of development of feelings, deep feelings and discoveries of the child, develops his creative abilities, introduces him to deep values. This is a concrete, visible result.

In the process of observing the activities of preschool children, I found that children are not familiar enough with the works of children's fiction, have a limited vocabulary, many lack coherent speech skills, some do not know how to build relationships with peers and adults. Interviews with parents showed that in many families the traditions of family reading have been lost, and the reason for this, as a rule, is the busyness of parents.

After conducting a pedagogical diagnosis of children in the preparatory group for school to determine the level of development of theatrical skills and abilities of children, I found that:

- children do not have a steady interest in theatrical activities;

- they do not always know how to correctly assess the actions of actors in theatrical activities;

- poor command of expressiveness of speech;

- are not fully able to empathize with the heroes of fairy tales, reacting to the actions of the characters;

- it is not always possible to get used to the created image, improving it, finding the most expressive means for embodiment, using facial expressions, gestures, movements.

After analyzing the results of ascertaining diagnostics, I concluded that the children of my group show little interest in theatrical activities, have poor command of the expressiveness of speech, the ability to understand the emotional state of another person and express their own, the ability to get used to the created image and use facial expressions and gestures.

I decided to turn my attention to musical fairy tale games.

Children of all ages love to play, play is a part of their life. At the same time, they are very fond of turning into someone or something. Little children are wonderful actors - as soon as one of them puts on at least part of a costume, he immediately enters into the image.

Starting to engage in theatrical and gaming activities, I encountered a number of difficulties:

- stiffness of children;

– uncertainty about the correctness of the chosen movements;

- children do not know how to portray this or that hero;

- find it difficult to convey the various states of the characters;

- it is difficult for children to combine speech and movement, singing and movement;

- it is difficult to master facial expressions and pantomime.

So I set myself the following target: create conditions for the disclosure of the creative and artistic potential of the child through the use of theatrical fairy tale games in music classes.

To achieve this goal, the following tasks:

- introducing children to theatrical art;

- enrichment and activation of children's vocabulary;

- stimulation of the desire to seek expressive means to create a game image (facial expressions, movements, gestures, intonation);

- development of moral, communicative and volitional qualities of a person: sociability, kindness, responsiveness, politeness, the ability to bring the matter to the end;

- maintaining the desire to participate in holidays and entertainment, to feel free and relaxed in any environment.

I decided to implement these tasks through the educational area "Artistic and aesthetic development" and the integration of educational areas:

- Cognitive Development. Expanding horizons in terms of theatrical activities (in the process of learning about the world around us, attitude towards other people).

- Speech development. Development of children's speech in the process of theatrical activity (lexical side, grammatical structure of speech, coherent speech, vocabulary expansion), development of free communication with adults and children in the process of theatrical activity. Creation of a subject-developing environment: design of a theatrical zone; production of screens, masks; tailoring of suits; drawing masks, tickets and posters with children; making puppets for the finger theatre; table theater; production of a theater of soft, rubber toys, the theater "Bi-ba-bo", production of scenery for various fairy tales; production of mnemonic tables (for effective memorization and reproduction of the storyline of the work).

I have identified the main principles which formed the basis of the experience:

1. The principle of purposefulness.

2. The principle of systematicity and consistency.

3. The principle of accessibility.

4. The principle of visualization of training.

5. The principle of an integrated approach.

6. The principle of nurturing and developing education.

7. The principle of strength.

- viewing illustrations, postcards dedicated to the theater, a story about the theater, about theatrical professions;

- watching puppet shows staged by educators and talking about them; reflection of their impressions in independent artistic creativity: drawing, modeling, playing scenes in kindergarten and at home;

- performing various creative tasks for the development of children's plasticity, speech intonational expressiveness, exercises for the development of diction, expressive facial expressions, rhythmic minutes (logo rhythmics); games with theatrical elements; sketch games; playing out poems, situational game-stories with elements of theatricalization; retelling of fairy tales using mnemotables.

I started by paying a lot of attention to playing and theatrical activities in music classes, where every child can try himself in the role of: a cowardly bunny, an angry wolf, a cunning fox, a cautious mouse, etc.

Gradually, musical games developed into fairy tale games. For example: "Wolf and seven kids" (from the collection of A.N. Zimina "Imaginative games and exercises"); “Toy Store” (from M.A. Mikhailova’s collection “Development of Children’s Musical Abilities”); "Gingerbread Man" (from the collection of L.A. Blokhina "We start our concert"), etc.

ON THE. Metlov wrote: “Musical fairy tale games occupy a large place in the life of a kindergarten. They have a huge educational impact on children, contribute to the development of artistic taste, singing skills, cause joyful emotions, contribute to the development of the motor sphere, creative activity.

Theatrical art requires from the performer the skills of reincarnation. And if we talk about the theatrical activity of a preschooler, then it has a special imprint - a free play character, which persists even when a certain play plot is played out by children. Reality provides rich food for the imagination. Children receive a huge mass of impressions from the world around them, which they strive to translate into living game images and actions.

Soviet psychologist L.S. Vygotsky wrote: “Theatricalization is a common type of children's creativity, which manifests itself in a wide variety of forms - both as compositions, improvisation of short scenes, and as staging of ready-made literary material. Children are attracted by the inner, emotional richness of literary plots, the specific active actions of the characters.

When I began to introduce elements of fairy tale games and theatrical scenes into musical classes, I noticed that the children began to change. Stiffness, indecision, shyness began to disappear. During theatrical games, I tried to give children the freedom to choose movements for improvisation. Such freedom had a beneficial effect on the development of children's activity.

Gradually, I began to introduce musical fairy tale games into matinees. For example: the scene “Which mom is better?” I included in the matinee dedicated to the day of March 8; the sketch "Dispute of vegetables" - on the autumn holiday and many others. Gradually, I began to complicate musical fairy tale games and introduce them into matinees.

During the performance, we play out a real festive theatrical atmosphere - the invitees purchase tickets at the box office, the children-controllers check them, and distribute prepared programs. Regular guests of our performances are children of younger groups, parents, employees of the kindergarten. After the performance, we hold a discussion where the children evaluate their successes and failures. During judgment, conversations, you can find out how critically they are able to relate to their own game. Directing the conversation in the right direction, I try to point out the main mistakes and shortcomings, but at the same time, praise the children, note the most interesting moments of the performance. Repeatedly we became participants in regional competitions, in which we became diploma winners.

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, colors, sounds, music, and questions skillfully posed by the teacher encourage them to think, analyze, draw conclusions and generalizations. I consider the work on theatrical activities in kindergarten to be successful, because in the soul of every child there is a desire for a free theatrical game in which he reproduces familiar literary plots, it is theatrical activities that help the child convey his emotions, feelings, desires and views, as in a normal conversation , and publicly, without being embarrassed by the audience. I consider it important in my work to deal with children every day - this is a game, and every child can live and enjoy it.

In the process of work, children literally transform before their eyes, become free, liberated, and if they skillfully raise questions, they learn to think, analyze, and offer their ideas. My task as a practical teacher is to encourage the child to "See, be surprised, tell."

I believe that the theatrical activities of children help me solve many pedagogical tasks related to the formation of the expressiveness of the child's speech of intellectual and artistic and aesthetic education. Any fairy tale, theatrical game is an inexhaustible source of development of feelings, experiences and emotional discoveries, a way of familiarization with spiritual wealth.

As a teacher, it is very important for me that in a world saturated with information, new technologies, the child does not lose the ability to know the world with his mind and heart, expressing his attitude to good and evil, he could know the joy associated with overcoming the difficulties of communication, self-doubt. The value and benefits of doing theatrical activities are obvious, because. closely related to other activities - singing, moving to music, listening, drawing, etc. The need for contact and systematization of it in a single pedagogical process is obvious.

While doing theatrical activities with children in the process of observation, I drew attention to the following:

1. Children have expanded and deepened their knowledge of the world around them.

2. Expanded vocabulary.

3. Children became more relaxed, there was a desire to participate in dramatization games, theatrical performances, to be active and initiative.

4. Children began to develop moral, communicative and volitional qualities of a person (sociability, politeness, sensitivity, kindness, the ability to bring a common cause or role to an end), relations of cooperation and mutual assistance were established, a sense of collectivism appeared.

5. Children began to sing songs, dances, poems more emotionally and more expressively.

6. The ability to express one's understanding of the plot of the game and the nature of the character (in motion, visual activity, speech) has appeared.

7. The children had a desire to invent, tell a fairy tale, a story, compose a dance, etc.

8. The involvement of parents in the creation of attributes, costumes, scenery also played a positive role: adults and children began to feel like a single team, passionate about an important matter.

The children showed positive changes that can be compared according to the results of the initial characteristics of the child and the characteristics by the end of the training period. Moreover, such a characteristic can be given by both parents and educators. I find work on the development of creative abilities in theatrical activities interesting and exciting, it opens up the creative possibilities of children.

Komleva Veronika Viktorovna

Candidate of Pedagogical Sciences, Researcher at the Federal State Budgetary Scientific Institution "Institute of Art Education and Cultural Studies" of the Russian Academy of Education.

Annotation:

The article considers the creative development and participation of younger students in a musical performance. This is a special field of activity in which a child can manifest and realize himself. Musical theater and the process of preparing a play or performance is one way to identify talented and gifted children. A theatrical musical performance for a teacher is an opportunity to diagnose the creative level of development of children, to determine indicators on a scale of giftedness. The rehearsal period and musical performance is a way of testing and building indicators of the scale of talent and giftedness of the creative growth of the child and the teacher.

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

Why is theater so important for a child? Because subjects aimed at the artistic and aesthetic development of the child in the learning process are forced to include all the systems of perception of the child. Classes in the subject "Musical theater" help to include the child's sensory systems in the learning process more effectively. V. Oaklander in his work “Windows to the World of a Child” points out that through sight, hearing, touch, taste and smell we are aware of ourselves and are in contact with the world. In the future, we begin to act mechanically, moving away from emotions. Reason supplants emotions, but reason is just one of the components of our being that must be developed in a child and used in their entirety. Let's try to leave the mind and return to the feelings. Developing one of the child's sensory systems, the teacher, as it were, turns off the other. We draw and sculpt, in silence and silently listen to music, hands folded on the desk, experimenting with extracting sound effects, sounds without conveying our feelings. N. Basina and O. Suslova argue that music is visible and invisible. Music generates movement, and the nature of the child instantly responds to the impulses coming from it. The child is able to touch, see, hear music, as a piece of music is abstract, but very sensual. The child is more open to the perception of music, colors, words. In his hands, all this seeks to overcome its immateriality and incarnate, to acquire flesh, to become visible, alive. S. Kozhokhin describes in the work "Journey to the World of Art" about the positive experience in the classroom with younger students about the development of taste skills and forms of smell. In a child, smell and taste can be expressed by color, certain lines, sounds and choreographic impromptu. Many teachers use associative drawing, plastic fantasies, impromptu noise. This is the basis of relaxation, meditation in psychotherapeutic practice. Associative impromptu can be used for testing and as an adjunct to diagnostic tracking. Each theatrical lesson includes a training block, a rehearsal block and creative improvisation as a kind of individual test survey. There are two relaxation breaks during the course. These are collective choreographic mini-blocks, which are aimed at changing the type of activity and exchanging information. At the end of the lesson, review and group discussion. The lesson is divided into several stages: Psychological mood - adaptation. Musical greeting. Checking homework. Conversation, presentation, mood for mastering new material. cognitive block. Journey to the country "Theater". Learning block. Introduction to new material. Musical pause. Creative search, active development of new material, trial and experiment to create a new image. Practice block. Rehearsal moment. Discussion, viewing, collective discovery of a single image. Demo block. Relax-pause Musical-choreographic pause. Identification of creative and emotional activity. Discussion of individual and collective homework. Block test - completion of the lesson. Each of the blocks: cognitive, training, practical, demonstration, block test contains a large illustrative material. These are household items, media display of excerpts from musical and theatrical performances, acquaintance with works of art, acquaintance with the life and traditions of the native land, the history and culture of different peoples. Musical pauses are a psycho-emotional rest for children on the themes of favorite musical works of past classes, which returns to past topics with a refrain. The rehearsal moment is the most favorite part of the lesson, where children feel like creators and individuals. A creative search for the character of the depicted hero, a test of oneself as an artist, costume designer, musician of a noise orchestra, an actor raises the child to a new social level. He feels more needed, significant, mature, useful. Theater-based education has a main advantage over other forms of education and extracurricular activities, because it is completely built on the creative search of the teacher and the child, and then on the creation of a theatrical product. In the classes on the subject "Musical Theater" for schoolchildren of the St. George's Gymnasium in the city of Yegorievsk, the collective nature of singing as a whole and as the most accessible form of familiarization with the beautiful, thanks to the presence of a special musical instrument "voice" in each person, develops. The most active and entertaining form of introducing students to art at school is the integration of vocal education with the theater in the form of staging school musicals. Work on the musical turned out to be very exciting, interesting for teachers, children of different ages and for parents. That is why it was decided to engage in this work with children from the first grade. To achieve this goal, the program of extracurricular activities "Children's Musical Theater" was chosen. Theatrical activity for children is a special world, let us recall an excerpt from a conversation between Konstantin Sergeevich Stanislavsky and Natalia Ilinichnaya Sats: “Have you ever thought how good it would be to start creating a children's theater from childhood? After all, every child has the instinct to play with reincarnation. This passion to reincarnate in many children sometimes causes bewilderment even among us - professional artists. There is something in pedagogy that kills this childish boldness of initiative, and only then, as adults, some of them begin to look for themselves on the stage. But if this gap is eliminated, if talented children are united in a children's theater at the peak of their children's creativity and since then their natural aspirations have been developed - imagine what a celebration of creativity can be achieved by their mature years, what unity of aspirations. Nekrasova L.M. to work with children with the support of the staff of the Integration Laboratory of the FGBNU IChOiK RAO. and Komleva V.V., the teacher of the St. George Gymnasium Basova I.S. created a program for theatrical development of children. The educational area of ​​the program "Children's Musical Theater" is art. New educational standards impose higher requirements on the participants in the educational process. One of the most important pedagogical tasks is to increase the general cultural level of students, as well as the formation of an aesthetic taste and need for spiritual culture. Introduction to art contributes to the education of the child's beliefs and spiritual needs, forming his artistic taste. Since artistic experience is always a subjective, personal experience, the student must not only assimilate, learn, remember this or that information, but also process, evaluate, express his attitude to it. That is, for the knowledge of art, it is not enough to master a certain set of skills, the knowledge of art is possible with the help of the language that art itself speaks. One of the forms of active involvement of children in the world of art is children's musical theater as a form of additional education. The theatrical form presupposes support and close relationship with the aesthetic cycle of school subjects; allows you to fully realize the creative potential of the child; contributes to the development of a whole range of skills, active perception of different types of art. Education by means of the theater involves the development of a full-fledged perception of art, an understanding of the language of art and its specifics. N.P. Kuraptseva and L.G. Surina write about this in their work “Our friend-theatre”. The development of sensory perception, fantasy, emotions, thoughts in the process of the impact of art on a person occurs due to a holistic experience and understanding in art of the phenomena of life. Through this holistic experience, art forms the personality as a whole, embracing the entire spiritual world of a person. By participating in theatricalization, children receive an indispensable creative experience. In the course of the work, various exercises are used that contribute to the development of communication skills by children, such as establishing contact with each other, the ability to interact with peers, yield and restrain their impulses, choose a partner for joint activities, perform certain specified actions, achieve expressiveness on stage. During the rehearsal period, children learn to purposefully memorize and reproduce words, concepts, monologues, the skill of establishing semantic relationships between objects appears, the amount of memory and attention expands, and verbal memory is constantly developing. Working with musical works, singing, participating in a noise orchestra stimulate interaction, allow you to increase the level of attention, contribute to the emergence of feelings, the birth of new images. Plasticity and choreography enable the child to actively express himself non-verbally, to realize his individuality, to reveal often hidden creative possibilities. The Creative Lab is the backbone of the Musical Theater class because it brings out something unique in every child. The expression of a child's individuality manifests itself as a creative act. E.A. Yakovleva points out: “Creativity is nothing but the realization by a person of his own individuality. Depending on the area in which and with the help of what means this presentation is carried out, we can talk about specific types of creativity. A child is a social being, his unique individuality must be shown, presented to other people. The lesson uses the method of identifying oneself with what the child draws, sounding the image and animation in motion. Children experience difficulties, but do not give up. The search goes on again and again until success comes, the approval of the teacher and peers and the self-satisfaction of the child. Often, children reinforce their subsequent sensations with drawings. The subject "Musical theater" is a world of fairy tales and fantasy, a world of wonderful transformations for a child, so the entire teaching methodology should be built on moments of impromptu emotional and spectator accents. The teacher himself must be a creator and force children to create. What could be more amazing than the sound of music and more magical than a performance in the theater. But this is a subject, and the teacher has certain tasks and educational goals - to introduce children to both the theater and the genres of musical theater. But the most important thing is to explain to the child what creativity is, to teach children to create, to make creativity for children as necessary as air, and the experience gained as a life compass. The theater combines all the arts, children can try themselves in different types of creativity. And it is the teacher who takes on the mission of discovering what is new for the child and what is new in the child. The earlier the giftedness of the child is revealed, the clearer the individual-creative route of development and in the general direction of the educational process is clearer for the teacher. There are many gifted children, even more talented ones, but they are not noticed, not involved, not understood, not fully disclosed. The main component of musical theater is theatrical play. Theatrical games are of particular importance, they are both in the field of education and upbringing. The themes and content of these games usually reflect the phenomena of the surrounding reality that are understandable and close to children, reveal the habits, character, familiar images of animals, birds, the children themselves and their actions. The game is the closest form of activity for preschool children and primary school children. Theatricalization and music determine the development of the game, deepen the images, create the appropriate mood. Improvising in the classroom, the child plays and actively moves, listens to music, and engages in search activities. The availability of game images, interest in the game, the emotional story of the teacher before the task, as a kind of methodological technique, expressive musical illustration and theatrical sketches allow children to give their individual shades in the performance of theatrical roles. Various games are especially widely used to identify images and search for characters of objects familiar to children . Games in various types and variants are held at all stages of work on the preparation and creation of a creative product. At a more advanced stage of the imaginative development of the child, the game stimulates the necessary voluntary improvisational action of the child. Non-plot games may not have a specific theme, but in such games there are elements of calls, dancing, catching, competition, building and rebuilding the game with objects and toys. This is very useful in finding the character of a hero. So the necessary brightness of the game appears. This passion for play contributes to the further development of creative activity and the development of the ability of children. The expressiveness of movement, soloing and recitation of children depends on the emotional coloring of the plot, which is given by the teacher. Introducing children to a new plot game, search task or sketch, the teacher must first interest the children, tell the content, and characterize the images. It is necessary all the time to direct the attention of children to the perception of the work as a whole and the change in the assessment of the character of the hero. The program "Musical Theater" introduces the child to the world of theater and teaches him acting skills. This program was tested in the St. George Gymnasium in Yegorievsk and in the early development lyceum "Galeas". When compiling any program, it must be taken into account that children and parents are set up for long-term education. This is a comprehensive educational process for children and adults, aimed at obtaining new knowledge, skills and creative experience. The program should be mobile and modular-constructive, able to include additional sections and new methods. Much attention should be paid to relaxation breaks, finish relaxations, art therapy, individual educational routes, steps, creative and experimental levels. Any creative activities must begin with a game, with the most natural state of the child, which will help to make contact, determine the necessary comfortable climate, and help captivate children. In the theater classes of the subject "Musical Theater", children get acquainted with drama theater and musical theater, learn about the professions involved in the theater, try to decide what they would like to do - try themselves as an actor or participate in an orchestra, do lighting or scenery. As a result of pedagogical observation, questioning, diagnostics on the talent test, three groups of children are identified: children with normal age-related artistic development; creatively active children with developed artistic abilities; gifted children. For each group, the teacher selects creative tasks in order to enhance the creative activity of children. Further, the stage-by-stage tasks are combined into a single route for solving educational problems, the result of which is a musical performance. Classes, the rehearsal period in the subject "Musical theater", game tasks during classes, creative homework done by children help the teacher to consider the grain of creative talent in each child, to reveal his talent. A theatrical musical performance is a way of diagnosing the creative level of development of children, determining indicators on a scale of giftedness. The rehearsal period and musical performance is a way of testing and building indicators of the scale of talent and giftedness of the creative growth of the child and the teacher. This is a way to involve parents and adults in the educational process and participation in creative competitions for adults together with children, one of which is the creative development of adults and independent participation in competitions-reviews to create theatrical costumes, scenery, make-up. Particularly popular with children and adults is participation in the contests "Grandma's Chest", "Forgotten Item". In the process of the teacher's work on the creation of a creative product, the subjects of the artistic and aesthetic cycle are integrated at the level of interdisciplinary connections, which make it possible to form in unity the content, operational and motivational components of educational activity. The spirituality of the individual, the creative abilities of the child, the ability to see and create beauty develop. Thus, there is an upbringing of a harmonious versatile personality, the development of its creative potential and general cultural outlook, capable of actively perceiving art. The following tasks are carried out for the development of the child: a holistic view of art is formed; skills of creative activity are formed; expanding ideas about the concepts of general and special for different types of art; skills and abilities in the field of acting, vocal and choral performance are formed; continuation of work on improving the level of performing skills: to be able to apply the acquired knowledge in practice. Educational tasks are being carried out: There is a contribution to the education of artistic and aesthetic taste, interest in art; Develop the ability to actively perceive art. Development tasks are being implemented: creation of conditions for the realization of creative abilities; memory, voluntary attention, creative thinking and imagination develop; individual creative abilities are revealed and developed; the ability of self-development of artistic values ​​is formed. Education in the subject "Musical theater" is carried out according to the following principles: - the unity of the emotional and conscious; - comprehensive education and development of students. The leading methodical technique in the classroom is the method of artistic improvisation. All classes combine two main types of activities: a conversation about the specifics of theatrical art (this is viewing reproductions, paintings, photos and video materials, with the help of which children form an idea of ​​\u200b\u200bthe theater as an art form, features of the theater) and a game (contact, plot-role-playing games). In the form of a game, they get acquainted with new types of activities, acquire skills in creative actions. play musical instruments, dance, etc. ). This gives the child the opportunity to “tell” about himself, get to know each other, and learn to act in a team. Improvisation was chosen as the main method for developing creative abilities: Choreographic improvisation (spontaneous dance - performance, composition of dance compositions on a given musical theme); imitation of movements (through the plasticity of the body to convey any image); theatricalization (staging of individual episodes), improvisation on a given topic (creative tasks, sketches for the development of creative imagination); Instrumental improvisation; Improvisation of accompaniment of a piece of music by sounding movements (clapping, stomping). Classes in stage literacy begin with the cultivation of the ability to organize, silently, taking into account the presence of partners, to be distributed on the stage. The word on the stage should sound distinct, clearly convey the idea, be emotionally saturated - this dictates the appropriate work on the word: classes in the technique and logic of speech, practical mastery of verbal action. The classes necessarily include exercises for the development of articulation, diction (talking games, tongue twisters, tongue twisters), games and exercises for speech breathing (exercises for lips, tongue), as well as breathing exercises. Exercises for the development of intonational expressiveness of speech are very important (tasks to recite a poetic text on behalf of various fairy-tale characters, recite to music, rhythmic recitation. It is imperative to include reading and playing fragments of fairy tales; voicing fairy tales with noise instruments that children can make themselves at home. Much attention is paid to vocal -choral work (exercises for the development of singing breath and voice, musical games, work with the song repertoire, work on the expressiveness of the performance), as well as listening to a musical work and creating its plastic image (musical and rhythmic exercises), learning dance compositions with playing out the text of songs , dramatization of songs.After completing the main tasks, young schoolchildren need a relax-pause.With great pleasure, children perform exercises to achieve muscle freedom, with the help of which they acquire the skills of correct stage behavior; they love funny musical physical education minutes, where dance moves are shown to them by animated characters . The main test task for the teacher and children is a theatrical performance. When working on staging a performance, it is advisable to divide the participants into the following groups: - soloists: this group includes children with a sufficiently high level of development of musical abilities, as well as children with vocal abilities or the prospect of their development; - acting group: the main characters on the stage; - dance group: children with good plastic abilities - children's noise orchestra: this group may include children who, for various reasons, need a longer period of mastering stage literacy. All these small groups are mobile, during the following productions, children can be transferred from one group to another. With great attention and effective help, the family of participants, friends and adults are involved in the creative process. Involving parents in the creative process of making costumes and sets with their children is one way families and schools come together. Musical theater classes are not perceived by students as traditional lessons, for them it is a holiday, an opportunity to show their abilities, be creative, smile, laugh, joke. Thanks to the relaxed atmosphere that reigns in the classroom, children get a charge of excellent mood and are ready to create beautiful things again and again. In the course of the work, performances were prepared - musicals based on the fairy tale by the Brothers Grimm "Cinderella", N. Nosov "Dunno", A.S. Pushkin "The Tale of the Fisherman and the Fish", A. Filatov "About Fedot the archer, a young daring man", I. Basov "We are children of the galaxy", "Lilac of Victory". This is how theatrical performances are born, children get creative development and gifted children are revealed. The subject "Musical Theater" was introduced into the additional education of the MOU "Georgievsky Gymnasium" in Yegorievsk. New theater-based methods allow for more flexibility in unloading and organizing in a new way the oversaturated educational space in the school. Thus, one of the tasks of changing the oversaturated learning environment of an elementary school child is being solved. New theatrical forms and types of classes with younger schoolchildren are being developed. The training material uses methods for obtaining the creative skills of theatrical professions. Children and adults get invaluable creative experience. The potential of the world musical, visual and theatrical art is most fully revealed and used.

LITERATURE

1. Barkova A.M. Socio-pedagogical factors of education of children by means of folklore. - M., 2000. 2. Basova I.S. Musical theater --- performance at the conference "Development of additional education at school" E., 2013. 3. Bozhovich M.I. Personality and its formation in childhood. - M., 2002. 4. Vetlugina N.A. Musical development of the child. 5. Doronova T.A. The development of children in theatrical activities. - M., 2001. 6. Sorokina N.F. Theater - creativity - children. - M., Arkti, 2002. 7. Yakovleva E. Guidelines for teachers to develop the creative potential of students. - M., 1998. 8. Extracurricular activities of schoolchildren. Methodological constructor: a guide for the teacher. D.V.Grigoriev, P.S.Stepanov.-M.: Enlightenment, 2010. - 223p. – (Standards of the second generation). 9. Afanasenko E.Kh., Klyuneeva S.A. and etc. Children's musical theater. Programs, development of lessons. Volgograd, "Teacher", 2009. 10. Vygotsky L.S. Imagination and creativity in childhood. M., 1991. 11. Issues of directing children's theater. M., 1998 12. Griner V.A. Rhythm in the art of the actor. M., 1992 13. Dmitrieva L. Methods of musical education at school. M., 1987 14. Ershova A.P. Theater lessons at the lessons at school. M., 1992. 15. Klyueva N.V. We teach children how to communicate. Yaroslavl, 1996. 16. Mikhailova M. development of children's musical abilities. M., 1997 17. Mikheeva L. Musical dictionary in stories. Moscow.: All-Union publishing house "Soviet composer", 1984. 18. Subbotina L.Yu. The development of imagination in children. Yaroslavl, 1996 19. Shilgavi V.P. Let's start with the game. L., 1980. 20. Journal "Bulletin of Education of Russia" No. 7/2006

Contents: Music director Equipment of the music hall Theater and music studio "Golden Key" - theatrical fantasies, children's creativity - instrumental music playing Our stars Creative team We - artists Collaborate Our awards Conclusion Archival materials

Musical director Graduated from the Glinka Magnitogorsk Music College in 1975 with a degree in choir conductor, solfeggio teacher. 35 years of teaching experience. The highest qualification category. My pedagogical credo: “A child is not a vessel that needs to be filled, but a torch that needs to be lit, and only the one who burns himself can light a torch!”

Theatrical and musical studio "Golden Key" Tasks: To form a steady interest in theatrical and staging activities To liberate the creative abilities of preschoolers To teach children to master the simplest musical instruments To develop memory, attention, thinking and perception

Conclusion Theatrical and musical activity in a child's life is not only aesthetic education and familiarization with cultural values, but also an effective way to develop children's abilities, their path to a spiritualized happy life and self-realization as a person.

Archival materials Synopsis of the holiday “Spring visiting preschool children” Abstract of the holiday “Spring visiting preschool children” Lesson on theatrical activities in the preparatory group for school: “Miracle Spoons” Lesson on theatrical activities in the preparatory group for school: “Miracle Spoons” Work experience "Musical folklore as a means of developing musical creative abilities" Experience "Musical folklore as a means of developing musical creative abilities"