Club program "me and the puppet theater" elementary school. Additional educational program “Puppet Theater About conducting classes in the puppet theater circle

"I affirm"

Director of the gymnasium: _____________

Order No. _____

from "_____" ________ 20___

Puppet club program

Educational program of the puppet theater “Smile”

designed for students aged 7-9 years.

I. EXPLANATORY NOTE

The puppet club program “Smile” is designed for implementation in primary and secondary classes of secondary schools. The creation of a puppet club at school can effectively influence the educational process. Uniting the class team, expanding the cultural range of students and teachers, improving the culture of behavior - all this can be accomplished through creative activities in this circle. Theater creativity acquires particular importance in elementary school. It not only helps to educate, but also teaches through play, because for children at this age, play is the main activity that constantly develops into work (learning). Children love theatrical games. Younger schoolchildren are happy to join in the game: answer the dolls’ questions, fulfill their requests, and transform into one image or another. Kids laugh when the characters laugh, feel sad with them, and are always ready to help them. By participating in theatrical games, children get acquainted with the world around them through images, colors, and sounds. The child enjoys playing, especially with peers. The advantage of a puppet theater as a concert group is its mobility: it can perform on almost any stage, in a hall, in a classroom, in a kindergarten, on a club stage. The repertoire is selected taking into account the age characteristics of students. Acquaintance with the position of an actor-creator accumulates their emotional, intellectual, moral, social, and labor experience and develops it. The creation of a theatrical performance complements and accompanies all work in order to master the terms (director, concept, author, play, script, etc.). Each child can try himself in the role of an author or director, which allows him to develop the child’s creativity. In an atmosphere of friendly and patient attitude towards each other, children's sensitivity to truthful, purposeful action is formed. Voice and speech exercises are also used to train the imagination: speak slowly, loudly, quietly, quickly, in a bass voice. Speech exercises play a propaedeutic role in future work on artistic reading. The first attempts to play fairy tale heroes expand children's understanding of authenticity in the theater. Here the foundations are laid for understanding the “school of experience” and the “school of presentation” in the art of acting. It turns out to be difficult to play so that people believe you. This forms the basis for interest in learning tasks, during which the main emphasis is on games with words, text, subtext, and various verbal actions (reproach, order, recognize, surprise, ask, explain, call). The word is revealed as the main means of performing a stage task, as the main component of character creation. By playing different combinations of one action with different texts or one text with different actions, children learn to hear the psychological expressiveness of speech. In terms of level of development, the program is specialized, as it forms and develops children’s knowledge, skills and abilities in the field of puppetry. The intended purpose of the program is educational.

Characteristics of children enrolled in the course

This additional educational program is intended for students in grades 1–5. There are no special conditions for admission to the circle. The principle of organizing the work of the circle is voluntariness. The number of participants is no more than 10 – 15 people.

3. Goals and objectives of the educational process.

Purpose of the program: creating conditions for the development of creative abilities through theatrical art; aesthetic education of participants, creating an atmosphere of joy in children's creativity and cooperation.

Educational objectives of the program :

Studying and mastering theatrical work with a puppet; - formation of theatrical speech skills, artistic skills in the manufacture of dolls and scenery;

Educational objectives of the program: - fostering respect and love for Russian folk tales;

Cultivating tolerance towards each other;

Developmental objectives of the program:

Development of creative abilities, imagination, fantasy, independent thinking of students and other participants in the educational process;

Development of communication skills of students of different age groups.

Basic didactic principles :

The principle of voluntariness; The principle of mutual learning; The principle of comfort; The principle of communication;

4. Duration of mastering the program

The program is designed for 2 years, classes are held 2 times a week for 40 minutes.

5. Forms of conducting classes

Any activity must be motivated. To generate positive motivation and create an atmosphere of creativity and passion, the following are used:

v word games;

v finger exercises;

v role-playing games;

v motor exercises;

Classes include the use of both individual and group forms of training.

6. Forms for summing up the implementation of the educational program

and evaluation criteria.

Important elements of this program include monitoring the results of activities within the educational program. The methods and techniques for determining the effectiveness of educational and educational processes are different and are aimed at determining the degree of development of creative abilities and the formation of basic skills defined by the requirements of a given program.

During the activities of the circle, it is proposed to carry out the following types of control of knowledge, skills and abilities:

Conversations to identify children’s attitude towards activities in the circle, the degree of mastery of certain knowledge, abilities, skills, and removal of the complex of non-communication;

Providing the opportunity for the child to manifest himself in various roles: director, artist, screenwriter, puppeteer;

Participation in school and district competitions for additional education;

Speech before parents and students.

7. Expected result:

During the work of the circle, students develop the skill of working with a doll, acquiring the necessary knowledge, skills and abilities. As a result of practical exercises, children develop the need to competently structure their speech and use techniques of expressiveness and emotionality.

Forming a respectful attitude towards works of oral folk art contributes to the cognitive activity of students. In the course of communication, children accumulate rich social experience and master the skills of tolerant attitude towards each other.

Students' creative abilities are developed through aesthetic and theatrical education. There is a discovery of a fascinating world of transformations, fabulous “revivals”, the boundlessness of the plastic forms of puppet shows. The result is a search for incredible combinations of materials, inventing fantastic plots and unexpected characters.

An important role is played by the development of communicative qualities of the student’s personality in the process of creative, positive communication.

Children need to know the terms

v performing activities;

v premiere;

v performance;

v actors;

v dress rehearsal

Children should be able to:

v hold the doll correctly;

v move behind the screen;

v follow the rules for working on the screen;

v analyze your game and the game of other circle members.

II. Educational and thematic plan

Total: 68 hours (1 year)

I.Puppet theater, its capabilities and features.

Introductory lesson: presentation of the activities of the circle; acquaintance with the activities of the “Smile” association;

Theoretical lessons: history of the puppet theater; types of dolls - time travel; the role of dolls in organizing leisure time for children, as well as adults.

Practical lessons: glove puppet, use of a glove puppet in a performance; practicing the skill of using a glove puppet; making a glove puppet from waste material.

Speech technique classes: the beginning of all classes begins with speech gymnastics; development of the articulatory apparatus through the use of a syllabic table; learning sayings, tongue twisters, tongue twisters; drawing faces with facial expressions while performing a role; vocal cord training; reading text behind a screen.

II.Selection of plays and rehearsal activities.

Introductory lesson: features of the selection of text for productions (volume, readability, presence of puppets, correspondence of character and speech);

Theoretical lessons: analysis of prepared materials; rules and features of selection;

Practical lessons: working in the library; selection of plays, reading and practicing material; distribution and selection of roles; preparation of scenery, assembly rehearsals, run-throughs; repair and maintenance of dolls; screen design; performances; selection of musical accompaniment for the performance.

III. Work analysis and long-term plans.

Introductory lesson: a conversation about successful productions, their analysis and suggestions from the circle participants; errors during productions, their analysis;

Theoretical lessons: performance analysis takes place after each performance; identifying strengths and weaknesses of work;

Practical lessons: preparation and release of the newspaper “Our Achievements” with analysis and opinions of participants, viewers and parents; drawing up a table of gaps during preparation for the performance.

With a creative approach to classes, theatrical creativity, including puppet club classes, not only intensify the interest of schoolchildren in the art of theater and art in general, in its various types, but also develop imagination, memory, attention and other qualities, educate and improve the psychological atmosphere in class, group. Preparing a performance is a long process, but very important. Its preparation includes the selection of works - Russian folk tales, design of the performance, starting with mounting and design of puppets and scenery. Creating a psychologically comfortable atmosphere for classes is necessary. During this period, children learn to communicate with each other, share their thoughts, skills, and knowledge.

IV. Methodological support for the additional educational program:

Methodological support:

The concept of a person-centered educational system. Circle work plan.

Planned forms and names of classes.

Material support:

Class room; 2 screens (rehearsal and premiere); A set of necessary dolls for performances; Stationery items for performance design; A set of fabric for repairing and making dolls;

V. List of literature for the teacher.

, “Finger gymnastics”, AST Astrel, Moscow, 2007

M. Besova, “Let's play!”, Academy of Development, Yaroslavl, 2007.

N. Alekseevskaya, “Home Theater”, “List”, Moscow, 2000

, “Counting tables, teasers, little worlds”, “Union”, St. Petersburg, 2000.

Magazines: “Primary school head teacher.”

"Theater of dolls and toys in preschool educational institutions", Volgograd, 2008

Literature for children:

Magazines: “Misha”, “Anthill”, “Murzilka”, “Do it yourself”.

Tongue twisters used in stage speech classes

They bought a spinning top for our Yulia,
Julia was playing with a spinning top on the floor.

Six little mice rustle in the reeds.

Ram Buyan climbed into the weeds.

Our Polkan fell into a trap.

Beavers are good to beavers.

Arkhip shouted, Arkhip became hoarse.

Arkhip doesn’t need to scream until he is hoarse.

Near the bell stake.

Slava ate lard,
Yes, there was not enough lard.

Sasha walked along the highway and sucked on a dryer.

cuckoo cuckoo
I bought a hood.
Put on the cuckoo's hood:
How funny he is in the hood!

Little chatterbox
The milk was chatting, chatting,
I didn’t blurt it out.

Redstart, redstart,
Burnt out the redtails.

Sly magpie
Catch the hassle.
And forty forty -
Forty hassle.

Kondrat's jacket is a little short.

Vlas is with us, and Afanas is with you.

Secure the paper clips with a cross.

Roofer Kirill fixed the roof crookedly.

The big guy Vavila merrily moved his pitchfork.

Fofan's sweatshirt fits Fefele.

The pharaonic favorite was replaced by sapphire and jade.

The evil potion will not go into the ground.

There is grass in the yard,
There is firewood on the grass.

Watermelons were unloaded from truck to truck.

Grandma bought Marusya beads,
At the market, a grandmother tripped over a goose.
Granddaughter Marusya will not have a gift -
All the beads were pecked by the geese.

Bull, blunt-lipped, blunt-lipped bull.
The white bull's lip was blunt.

I won't wake up Buddha
And I will excite Buddha.

The train rushes, grinding:
“Well, yeah, yeah, yeah!”

Silks rustle in the hut
Yellow Dervish from Algeria
And juggling with knives,
He eats a bunch of figs.

From the clatter of hooves
Dust flies across the field.

The earth rings with golden heat.

The weather in our yard has turned wet.

The bristles of a pig, the scales of a pike.

A scythe-goat is walking with a scythe.

Near the pool Olga groaned: “Oh-oh-oh!”

Crested Gulls
They laughed with laughter:
“Ha-ha-ha-ha-ha!”

Karl at Clara's
Stole corals
And Clara is with Karl
I stole a clarinet.

The priest has a pop, and the pop praises the priest.

The weavers wove fabrics for Tanya's dress.

Puppeteer's DICTIONARY

Proscenium - the front part of the stage.

Intermission is the interval between the actions of the play.

Batleyka is a Belarusian folk puppet show, similar in type to the nativity scene and shopka. Her repertoire, along with the story telling about the birth of Christ, included folk plays (“Tsar Maximilian”) and short interludes (“Volsky - the Polish Blacksmith”, “Korchmar Berek”, etc.).

Props are objects and decorations that imitate the real thing in a stage setting.

A vaga is a special structure to which strings are attached to control a puppet doll. It can be horizontal (for animal puppets) and vertical.

Nativity scene (Old Slavonic and Old Russian - cave) is a portable puppet theater in which religious performances related to the legend of the birth of Christ are performed. It usually has a two-story structure. Biblical scenes are played out on the top floor, and secular ones (everyday, comedy, and sometimes social) on the bottom floor. Nativity scene dolls move along slits in the floor of the stage.

Gapit is a cane on which the head of a cane doll is mounted. The gapit, equipped with the simplest mechanics, allows you to turn and tilt the head.
It is possible to attach threads to the gapit that control the doll’s eyes and mouth.

Hanswurst (from German - “Hans-sausage”) is the hero of the German folk drama theater and puppet theater.
Appearing in the 16th century, Hanswurst only two centuries later gave way to the new national hero Kasperle, who inherited some of his features.
character.

Guignol is a character from the French puppet theater. Born in Lyon at the beginning of the 19th century. The plots of the sketches in which he participated were borrowed from life
weavers of the city. The ever-increasing popularity of Guignol in popular circles has supplanted the old Polichinelle. Still French puppet shows
bear his name, and a monument was erected to the people’s favorite in Lyon.

The bed is the upper front edge (or plan) of the screen.

Dalang is a Javanese puppet theater actor. His task includes only puppeteering, and the text is pronounced by a nearby reader.

Scenery (from Latin - decoration) - artistic design of an action on a screen or theatrical stage.

Double - a replacement doll that copies its appearance
type of the main one and replacing it, if necessary, when solving special stage problems,

Backdrop - a painted or smooth background in the background of a screen or stage.

The stage mirror is the plane of the playing space visible to the viewer. limited in a puppet theater by a screen, portals and a portal arch.

Karagöz (from Turkish - “black eye”) is the hero of the Turkish shadow puppet theater. He was famous for his jokes and hostility towards “those in power.”

Koturny - in the puppet theater, small benches attached to shoes, or special shoes with thick soles. They are used in the case when the height of the puppeteer actor does not allow him to hold the doll at the level of the imaginary floor of the screen. Backstage - vertical strips of fabric framing the stage on the sides.

Matej Kopecký (gg.) - Czech folk puppeteer, creator of the famous theater and its hero Kašparek, for whom he wrote more than 60 plays.
At the grave of Matej Kopecky there is a white marble monument, on which the actor is depicted with his doll. The famous Kasparek himself is kept in the National Museum of Prague.

A marionette is a low-level puppet controlled by strings. It requires a special stage setup and a hook.

Mise-en-scene is a certain arrangement of scenery, objects and characters on stage at certain moments of the performance.

A miming doll is a doll made of soft materials with a moving facial expression. The actor's fingers are located directly in the doll's head and control its mouth, eyes and nose.

Monologue is the speech of one person, thoughts out loud.

(gg.) - famous puppet actor and director, creator of his own original puppet theater. Many of him
the performances became textbook ones: “Kashtanka” (based on), the fairy tales “At the Pike’s Command”, “Aladin’s Magic Lamp”, etc. And B. Shtok’s performances “The Divine Comedy”, “The State Central Theater Center Speaks and Shows...” and “An Extraordinary Concert” recognized
world classic.

Olearius is a German traveler who visited Russia and left a “Detailed description of the journey of the Holstein embassy to Muscovy and Persia...” (1647). The first documentary mention of a puppet show is associated with the name Olearius.
in Rus', and in the book itself there is a drawing depicting a puppeteer with Petrushka, dated 1636.

Paduga is a horizontal part of the decorative design of the stage. It is a strip of fabric suspended on a rod or cable.

Pantomime is expressive body movements, conveying feelings and thoughts with the face and whole body.

Punch is a popular hero of the English puppet theater,
gained fame as a hooligan and brawler. Punch is invariably accompanied by his wife Judy. Their performances - an example of English humor and evil social satire - enjoyed enormous success in England and have survived to this day.

Papier-mâché is the most common method of making doll heads, which involves pasting paper over a clay cast from the outside.
or a plaster mold from the inside.

Wig - false hair.

Parterre - seats for spectators below stage level.

The cartridge is a cardboard tube that is glued into the neck and hands of the glove doll. It allows you to “adjust” the character’s hand and head to the size of the actor’s fingers.

The screen apron (or apron) is a fabric curtain that covers the screen structure from the viewer's side. Unlike the covering, which attaches-
tightly attached to the screen frame, the apron is simply hung. It is used for various devices of collapsible screens.

Glove puppet - a doll that looks like a three-fingered glove to control the doll's head and rivers.

Parsley is the favorite hero of buffoons, a daring daredevil and a bully, who maintained a sense of humor and optimism in any situation. Like the appearance of the doll (long
nose, cap with a tassel), and the scenes he acted out remained almost unchanged over the centuries. In puppet shows::
Various characters took part together with Petrushka: a gypsy, a doctor, a policeman, a corporal, etc.
It is curious that some episodes in Petrushka’s performances echo puppet shows in other countries.

The pischik is a special device used by parsley actors.

Polichinelle is a hero of the French puppet theater of the mid-18th century, who came from Italy. By nature, Polichinelle is a cheerful fellow and a bit of a cynic.

Reduced plan - window or slot on the main
screen located below the main bed. Used to show contrasting scenes with a live actor or surprise moments.

A portal (portal arch) is a plane that bounds the “mirror” of the stage in the form of a frame from the sides and top.

Pulcinella is a popular comic hero of the Neapolitan comedy del arte. The most noticeable feature is the black mask.

Props - authentic and fake things and objects used during the performance.

Rehearsal is a repetition that precedes the performance of a performance.

Repertoire - plays performed in a theater during a certain period of time.

Application

Games to develop attention and imagination for the section “We

We play - we dream!”(from the program for teaching children the basics of performing arts “School Theater”)

· Pictures from matches

The exercise is structured like a children's competition. Students make matches out of matches to their liking and explain them. In addition to the element of competition, which is important for the students themselves, it should be noted that this game perfectly develops a sense of artistic taste, imagination, and, thanks to the uniformity of the “building material,” a sense of proportion. It is best to carry out the exercise on the floor (carpet), as children are not limited by the size of the tables and feel more relaxed.

· I'll draw it on your back...

Sensory imagination exercise. They play in pairs. The person drawing with his finger reproduces an image on the driver’s back. The driver’s task is to guess what was “drawn” on his back.

As soon as you give the drawer the task of “not wanting” the driver to guess the drawing, the behavior of both players changes dramatically: the driver concentrates attention as much as possible, bringing its sharpness to the maximum, and the drawer, “cheating”, tries to reduce the intensity of the partner’s attention with deliberate relaxation. This is one of the most exciting tasks, but the teacher must carefully monitor the progress of its implementation, avoiding the insults and upsets inherent in children, emotional overload and fatigue. In the end, it doesn’t matter if the driver is unable to accurately determine what kind of image the person drawing on his back has drawn with his finger - what is important is a conscious attempt to imagine this drawing and express it in words.

· Drawings on the fence

The teacher invites each participant to draw an imaginary picture on the “fence” (classroom wall), that is, draw it with a finger. Observers must talk about what they saw, and they must make sure that the participant’s “drawing” does not overlap with the previous one. The most valuable didactic point is the absence of the possibility of a negative assessment on the part of the group, since the conventionality of the image does not give rise to criticism and real comparison of artistic merits. Here “everyone is a genius,” which is very important in developing not only confidence in one’s creative abilities and strengths, but also “collective imagination” and trust in the abilities of a partner.

· Circus poster

Each student, having composed his own “circus act,” draws his own poster, in which he tries to most fully express his idea of ​​the genre, complexity, brightness and other features of his “act.” The invention of pseudonyms and short announcements for numbers is encouraged. The more vividly a child imagines his act, what he does “in the arena,” the more vividly his artistic imagination works.

· Robots

Two people are playing. The first is the participant who gives the “robot” commands. The second is a “robot” that performs them blindfolded. The methodological goals facing the players can be grouped in two areas:

1. The ability to set a precisely formulated task for the “robot”.

2. The ability to implement a verbal order in physical action.

The teacher must clearly ensure that the commands are not given “in general”, but are aimed at carrying out a simple but quite productive action, for example, to find, pick up and bring an object. Speaking about monitoring the actions of the “robot” itself, it is important to emphasize that they must strictly comply with the commands. The robot must trust commands and execute them in strict order.

Application

Exercises to develop good diction(from the “Theater” course program for elementary school)

[d] - [t] – alternating tapping with a fist on the palms;

[g] - [k] – clicks;

[h] - [s] – alternately connect fingers with thumb;

[v] - [f] – pushing movements with hands;

[g] - [w] – we climb with both hands along an imaginary rope.

· Read and then speak out the text. What do you think happened to his characters?

F F F F F F F F F

F F F F F F F

F F F F
F...F...

F F F F F F F F F

F F F F F F F F

BAM! BOOM! JING!

F F F F F F F F

TOP - TOP.

F F F F F F F F F

SLAP!!! SMACK.

I. EXPLANATORY NOTE

The school puppet theater program is designed for children aged 9-12 years. Classes are held 2 times a week for 2 hours. Form of work: collective and individual.
Puppet theater plays a big role in the formation of a child’s personality and in his spiritual development. It helps children get involved in theatrical art and culture, feel like creators, and develop communication skills.
The puppet theater has a whole range of means of influencing not only the audience, but also the actors. Character images, scenery, text and musical accompaniment help school-age children better understand the idea of ​​a dramatic work, especially since the effect is enhanced by direct contact with actors and dolls. The play has a great emotional impact on children. At an early age, they have a desire to be like good heroes. And young artists feel their importance and self-realization. The Golden Key puppet theater is a creative team of children who will be involved in staging puppet shows, making puppets, scenery, and drawing up their own scripts for productions. The task of the director of the theater club is to direct the children’s activities in the right direction, support their initiative, and help them with advice and deeds.
The puppet theater forms a friendly creative children's team. One of the distinctive features of this program is the game form of conducting classes, because For children at this age, play is the main activity that constantly develops into work (learning).

2. RELEVANCE OF THE PROGRAM

Puppet theater is one of the paths that leads a child to success in life, because it is the path of victory over oneself. By acquiring creative skills and communication skills, children become more relaxed and self-confident, and all this happens naturally during an important activity of the child - games, playing with a doll. The formation of a creative, socially adapted personality occurs naturally, based on the principle of conformity with nature.

3.Basic goals work of the theater circle: creating conditions for the formation of creative skills.

4. Tasks mug - to develop children's imagination, memory, thinking, artistic abilities, introduce them to a variety of children's fairy tales, promote the development of sociability, sociability, develop. motor skills of hands and fingers, motor activity of the child.

The program is aimed at the formation and development of universal educational activities:

regulatory:

Goal setting;

Ability to accept and maintain a learning task;

Ability to choose actions in accordance with the task;

The ability to adequately perceive the teacher’s assessment;

communicative:

Development of creative activity in joint activities;

Ability to negotiate and come to a common solution to a given problem

educational:

Training in techniques for working with dolls;

Development of children's speech, replenishment of vocabulary, expressiveness of speech.

4. Forms and methods of work.

Working with a doll is a labor-intensive process that requires developed imagination, fantasy, systematic actions, and the ability to analyze and predict the result. Not all children have these qualities. Therefore, all stages are thought out and the most rational learning rhythm is chosen.

The learning process is built from simple to complex. Techniques for working with a doll are practiced using simple and small forms, which allows children to gradually encourage creativity, give them the opportunity to believe in themselves, fall in love with this type of creativity and awaken a desire to continue doing so. It is necessary to develop the child’s personality, confidence in his abilities, and provide him with the opportunity to show the best, most successful works at exhibitions and shows. As they master the skills of working in a puppet theater, the children show their performances for primary school students.

The form of classes can be different:

Training session;

Creative workshop;

Master Class;

The classes are structured in such a way that theoretical and practical lessons are given to the whole group. Further work is carried out with each student individually, taking into account his capabilities, age and personal characteristics. Theoretical questions are included in practical lessons and are a channel for the child’s creative initiative.

Educational and methodological support:

Methodological developments;

Information material;

Visual aids;

Photos;

Video materials;

Product samples;

Templates;

Handout.

The theoretical part of the lesson includes:

Setting goals and explaining tasks;

Creating conditions for the development of cognitive independence of students (it is advisable to ensure that children themselves determine goals, methods, and exercise control);

Presentation of new material (carried out in the form of a conversation based on the material already covered and previously acquired knowledge, with the demonstration of new techniques).

The practical part of the classes is based on the following principles:

Accessibility - “from simple to complex”;

Visibility;

Individual approach to each student;

Organizations of mutual assistance in carrying out work;

Multiple repetitions.

Depending on the child’s abilities, various forms of work are used: imitative, partially exploratory, creative.

For each performance, all members of the team express their opinions: they analyze the advantages and disadvantages, which helps all students once again consolidate the acquired knowledge and take into account possible mistakes.

Requirements for the quality of productions are increasing slowly and gradually. This allows for good learning results to be achieved.

At the end of each lesson, a work analysis is carried out and an assessment is given.

Material and technical support of the educational program.

Puppet group classes are held in the school library and in the technology room.

The library has technical equipment: music center, computer. Equipped with a rack for storing discs and video cassettes.

Dolls, props, decorations, and screens are stored in the cabinets. The bookcase contains works by children's writers. There is an album with drawings of product samples; the best creative works also become samples, with the obligatory indication of the author.

The library and office have tools: scissors, pencils, rulers, pens, templates and everything necessary for making dolls, props and scenery.

Expected results:

5. Educational and thematic plan

1. Introductory lesson. Features of theatrical terminology

Introducing children to the history of the Petrushka Theater in Russia. The concept of the play, characters, action, plot, etc. Features of the organization of the work of the Petrushka Theater. The concept of “puppeteer”. Introducing children to the principle of controlling the movements of a doll (movements of the doll’s head, hands). Safety precautions. Features of theatrical terminology.

Practical work: practicing the technique of moving the doll on your hand.

2. Construction of screens and decorations

Introduction to the concept of “decoration”. Familiarization with the design elements (scenery, color, light, sound, noise, etc.) of a puppet theater performance. Primary skills in working with a screen. The concept of planar, semi-planar and volumetric decorations. Production of planar decorations (trees, houses, etc.). The concept of the physical and technical properties of materials for the manufacture of theatrical props.

Practical work: installation of screens and production of decoration elements.

3. Types of dolls and ways to control them

Expanding knowledge about types of dolls. Making dolls.

Practical work: Development of puppeteering skills.

4. Puppet theater on flannelgraph

Acquaintance with the features of the theater on flannelgraph.

Practical work: Sketch training. Learning how to work with picture dolls. Working on the play.

5.Features of the puppeteer’s work

The concept of the variety of movements of various parts of dolls. Practicing the skills of moving a doll along the front flap of the screen. Features of the psychological preparation of a young puppeteer.

Strengthening the skills of gestures and physical actions. Practicing doll movement skills in the depths of the screen. The concept of theatrical professions (actor, director, artist, costume designer, make-up artist, lighting designer, etc.).

Practical work: calculation of the time of certain scenes, mise-en-scenes and the length of the entire performance. Sketch training.

6. Watch a puppet theater performance in the school library via the Internet. Visit to the puppet theater. Discussion of the performance (sketches)

Familiarity with the rules of behavior in the theater.

Introducing children to the theater involves watching television plays. . Children learn to distinguish between the concepts of “theater” as a building and theater as a phenomenon of social life, as a result of collective creativity. They also learn to simultaneously and consistently engage in teamwork.

Practical work: Discussion of the performance (sketches). Sketch training.

7. Speech gymnastics

The concept of speech gymnastics and the peculiarities of speech of various characters in a puppet show (children, adult characters, various animals). Voice modulations. The concept of articulation and expressive reading of various texts (dialogue, monologue, story about nature, direct speech, voice-over of the author, etc.). Speech gymnastics (in the scenery). Working with tongue twisters. Natural inclinations of man, ways of their development. Visit to a puppet theater performance.

Practical work: practicing (training) stage speech.

8. Choosing a piece

Choosing a play. Reading the script. Distribution and audition for roles (two casts). Learning roles using voice modulations. Design of the performance: production of accessories, selection of musical accompaniment. Connecting verbal action (text) with the physical action of characters. Practicing musical numbers, rehearsals. The concept of acting and artistic means of creating a theatrical image.

Practical work: training on the interaction of actors in the proposed circumstances on stage.

9. Dress rehearsal. Play

Preparing the premises for the presentation of a puppet show. Composition of the jury. Installation of the screen and placement of all performers (actors). Analysis of the results of the dress rehearsal.

Practical work: organization and performance of the performance; organizing and conducting tours (preparing boxes for storing and transporting screens, dolls and decorations); showing the performance to primary school students and preschoolers; participation in a show of school puppet theaters

7. Expected results:

Mastery of beautiful, correct, clear, sonorous speech by children involved in a puppet theater group as a means of full communication.

Discovering opportunities for self-realization, i.e. satisfying the need to express and express oneself, convey one’s mood, and realize one’s creative abilities.

Screening of performances for students of MBOU Secondary School No. 13

8. Thematic planning

Gymnasium No. 2 of Novokubansk

WORKING PROGRAMM

EXTRA-CURRICULAR ACTIVITIES

Program type:

for specific types of extracurricular activities

circle

"Puppet show"

Program implementation period: 1 year.

Age of students: 8 – 9 years

Compiled by: primary school teacher Sokolova Larisa Mikhailovna

2013 – 2014 academic year.

“...Dramaturgy is the lifeblood of the theater.

It is not for nothing that only those theaters remain in history

who created their own repertoire, their own dramaturgy"

S. Obraztsov

I. Explanatory note

Relevance of the program

The program was developed taking into account the requirements of the federal educational standard for primary general education of the second generation, and is aimed at implementing the general cultural direction according to the Federal State Educational Standard under a license

This Puppet Theater program is designed for primary school students. At the moment, the diverse use of theatrical creativity among schoolchildren is relevant. Effectively influences the educational process. Unites the class team, expands the cultural range of students - all this is accomplished through learning and creativity in theater classes at school. Helps educate through play, since for children at this age play is the main activity.

Children love theatrical games. Younger schoolchildren are happy to join in the game: answer the dolls’ questions, fulfill their requests, and transform into one image or another. The guys laugh when the characters laugh, feel sad with them, and are always ready to help them. By participating in theatrical games, children get acquainted with the world around them through images, colors, and sounds.

The advantage of a puppet theater as a concert group is its mobility: it can perform on almost any stage, in a hall, in a classroom, in a kindergarten. The repertoire is selected taking into account the age characteristics of students.

In an atmosphere of friendly and patient attitude towards each other, children's sensitivity to truthful, purposeful action is formed. Voice and speech exercises are also used to train the imagination: speak slowly, loudly, quietly, quickly, in a bass voice. Speech exercises play a propaedeutic role in future work on artistic reading.

In the artistic world of today's schoolchild, theater occupies a more modest place than cinema, pop music, and literature. Puppet theater is very close to children's perception, since children tend to mentally animate dolls, toys, and objects of the surrounding world.

In the educational process in primary school, the main means of education are: culture. This area of ​​human existence, which is based on universal human values. By accumulating experience in relationships with the outside world, the child develops as a person.

Undoubtedly, all this has a beneficial effect on the development of children's perception, imagination, and contributes to the experience of positive emotions. This type of art brings children a lot of joy and puts them in a good mood, develops aesthetic taste, and develops clear pronunciation and expressiveness of speech.

The curriculum allocates 2 hours per week to study this course.

all 68 hours. The Puppet Theater program is designed for children aged 7-8 years.

Program goals:

Uniting children in order to realize the creative interests and abilities of students.

Satisfying the needs and requests of children, revealing their creative potential.

Aesthetic education of participants, creating an atmosphere of children's creativity.

Tasks:

Fostering children's sensitivity, love and interest in art.

Formation of ideas about theatrical art.

Organization of children's leisure time.

Training in techniques for working with dolls.

Development of children's speech, their vocabulary and expressiveness of speech.

Creating conditions for the creative, intellectual, physical and personal development of children through the basics of such an art form as puppet theater;

Development of creative and labor activity of children, their desire for independent activity.

Forms of activity: club activities.

Methods:

Conversation

Story

Individual work

Group work

Teamwork.

Facilities:

Illustrations and literature

II . Table of thematic distribution of hours

III. Program content:

Introduction: “Hello, dolls!” (5 hours)

Shadow theater production "Hare in the Garden". (8 hours)

Production of the puppet theater "Rukavichka". (5 hours)

Puppet theater production of “The Wolf in Little Red Riding Hood.” (13 hours)

Production of the puppet theater “Zayushkina Izbushka”. (11 o'clock)

Tabletop puppet theater production

“Kolobok in a modern way.” (8 hours)

Staging the puppet show “The Little Goats and the Wolf.” (16 hours)

Visit to theater performances (2 hours)

1.Introductory lesson.

Features of theatrical terminology

The concept of a play, characters, action, plot, etc. The concept of “puppeteer”. Introducing children to the principle of controlling the movements of a doll (movements of the doll’s head, hands). Safety precautions. Features of theatrical terminology.

Practical work: practicing the technique of moving a doll on your hand.

2. Arranging screens and decorations

Introduction to the concept of “decoration”. Familiarization with the design elements (scenery, color, light, sound, noise, etc.) of a puppet theater performance. Production of planar decorations (trees, houses, etc.).

3. Types of dolls and ways to control them

Expanding knowledge about types of dolls. Making dolls.

Practical work: Development of puppeteering skills.

4.Features of the puppeteer’s work

The concept of the variety of movements of various parts of dolls. Practicing the skills of moving a doll along the front flap of the screen. Practicing doll movement skills in the depths of the screen. The concept of theatrical professions (actor, director, artist, costume designer, make-up artist, lighting designer, etc.).

Practical work: calculating the timing of certain scenes, mise-en-scène and the length of the entire performance

5. Visit to the puppet theater. Discussion of the performance (sketches)

Visit to the regional art puppet theater. Familiarity with the rules of behavior in the theater. They learn to simultaneously and consistently engage in team work.

6. Speech gymnastics

Speech gymnastics (in the scenery). Working with tongue twisters.

7. Choosing a piece

Choosing a play. Reading the script. Distribution and audition for roles (two casts). Learning roles using voice modulations. Design of the performance: production of accessories, selection of musical accompaniment. Practicing musical numbers, rehearsals.

8. Dress rehearsal. 8.

8.Performance

Preparing the room for the presentation of a puppet show.

Installation of the screen and placement of all performers (actors). Sound, color and light design of the performance. Analysis of the results of the dress rehearsal.

Practical work: organizing and conducting a performance; showing the play at a regional seminar for primary school students and preschoolers;

IV. Expected Results

These results can be summarized in terms of achieving the standard requirements for student learning outcomes:

Personal UUD

1. Development of children’s speech, their vocabulary and expressiveness of speech:

2. Ability to learn techniques for working with dolls:

3. Rules of behavior in classes, locker rooms, and during the creative game process.

4. The ability to develop the creative and labor activity of children, their desire for independent activity:

Regulatory UUD:

1. Determine the purpose of the activity with the help of the teacher.

2. Plan your actions with the help of a teacher.

3. Discover and formulate a general cultural problem with the help of a teacher.

Cognitive UUD:

1. Search for the necessary information.

2. Process the information received: observe and draw conclusions with the help of the teacher.

3. Build logical reasoning.

Communicative UUD:

1. Formulate your thoughts in oral and written speech (in the form of a monologue or dialogue).

2. Listen and understand other people's speech.

3. Agree and come to a common opinion.

Value guidelines for the course content:

– patriotism is love for one’s small Motherland.

– pride in the residents of our area.

– labor and creativity - respect for work.

The program allows you to combine different forms of educational work.

Expected results:

At the end of the first year of study the student will know:

The stage in a puppet theater is a screen.

The concepts of “theater”, “director”, “set designer”, “property maker”, “actor”.

Rules of behavior in the theater.

The student will be able to:

Do articulation gymnastics with the help of a teacher.

Correctly put the doll on your hand.

Control the doll correctly and speak for it, hiding behind a screen.

When children involved in a puppet theater group master their speech, it becomes correct and clear. Discovering opportunities for self-realization, i.e. satisfying the need to express and express oneself, convey one’s mood, and realize one’s creative abilities.

Showing performances in schools and kindergartens

V. Forms and types of control

The level and degree of knowledge acquisition is monitored during classes. competitions, quizzes and theater shows.

Conversation, story, etc.

Group work (excursions, exhibitions, theater shows)

Facilities:

Illustrations and literature

Listening to audio and video recordings (using technical means).

Participation in puppet theater“Hare in the Garden”, “Mitten”, “Wolf in Little Red Riding Hood”, “Zayushkina’s Hut”, “Kolobok in a Modern Way”, “Kids and the Wolf”, visiting theatrical performances, quiz “On the roads of fairy tales”, creation of the presentation “My favorite 2nd grade”, defense of the project “Puppet Theater”.

VI . Guidelines

One of the indispensable conditions for the successful implementation of the course is a variety of forms and types of work that contribute to the development of students’ creative abilities, placing them in the position of active participants. In order to create conditions for self-realization of children, the following is used:

inclusion of play elements into classes that stimulate children’s initiative and activity;

creation of favorable dialogue socio-psychological conditions for free interpersonal communication;

moral encouragement of initiative and creativity;

a thoughtful combination of individual, group and collective forms of activity;

regulation of activity and rest (relaxation).

Main characteristics of the activity

1. The combination of training and general cultural education, the integration of spiritual and moral content into the aesthetic.

2. The presentation of the material is designed for 1 year. To implement the program, the following methods are proposed: visual, verbal, practical.

Visual method

Watching films, slides, presentations;

Excursions to the drama theater; observations;

Targeted walks;

Verbal method

Reading poems;

Conversations with elements of dialogue, generalizing fairy tales;

Message of additional material;

Examination of visual material;

Conducting quizzes and competitions.

Practical method

Staging puppet theater, competitions, quizzes;

Conducting excursions of various directions.

VII.Material and technical support of the educational process.

Municipal entity Novokubansky district, Novokubansk

municipal educational budgetary institution

Gymnasium No. 2 of Novokubansk

municipal formation Novokubansky district

Calendar and thematic planning

mug "Puppet theater"

Class: 2 "G"

Teacher: Larisa Mikhailovna Sokolova

Number of hours: total 68 hours, 2 hours per week

Planning is based on the work program of extracurricular activities of the Puppet Theater club

(compiled by L.M. Sokolova).

2013 – 2014 academic year

Novokubansk

Calendar and thematic planning.

VII. Description of the material and technical support of the program.

In our computer age, children's interest in reading fiction is rapidly declining. Because of this, children’s vocabulary becomes poorer, their speech is less common and inexpressive. Children experience communication difficulties and are unable to express their thoughts orally or in writing.

And the situation developing in the sphere of Russian literary education and children's reading looks dramatic. In the course of educational reforms, reading turns into a superficial acquaintance with retellings of works, which causes great harm to the ideological, spiritual and moral formation and development of children.

It is important to realize that children’s reading today is a battlefield for the souls of children, and therefore for the future of Russia. It is the lessons of literary reading that should teach children to love, teach them to forgive, and teach them to do good.

But in my opinion, just lessons are not enough. My research has shown that for three reading lessons a week, a child reads for 15 minutes in class. When discussing a work, he speaks on average 15-17 sentences. And if this is a shy child, then even less.

Maybe children read at home on their own or with their parents and discuss what they read there? I conducted a survey of children on the following questions:

1.Do you read books with your parents?

2. Do you have a home library?

3.How often do you visit the library?

The answers were disappointing.

This prompted me to look for new ways of aesthetic education in children's art education; techniques for developing individual creative abilities of younger schoolchildren.

Explanatory note

Puppet show- one of the most favorite spectacles of children. It attracts children with its brightness, colorfulness, and dynamics. In the puppet theater, children see familiar and close toys: a bear, a bunny, a dog, dolls, etc. - only they came to life, moved, spoke and became even more attractive and interesting. The extraordinary nature of the spectacle captivates children, transporting them to a very special, fascinating world, where everything is incredibly possible.

Puppet theater gives children pleasure and brings a lot of joy. However, one should not consider a puppet show as entertainment: its educational value is much broader. Primary school age is the period when a child begins to develop tastes, interests, and a certain attitude towards the environment, therefore it is very important for children of this age to show an example of friendship, righteousness, responsiveness, resourcefulness, courage, etc.

To achieve these goals, the puppet theater has great opportunities. Puppet theater influences the audience with a whole complex of means: artistic images - characters, design and music - all this taken together due to the figurative and concrete thinking of a junior schoolchild helps the child to understand the content of a literary work easier, more clearly and more correctly, and influences the development of his artistic taste. Younger schoolchildren are very impressionable and quickly succumb to emotional influence. They actively get involved in the action, answer questions asked by the dolls, willingly carry out their instructions, give them advice, and warn them of danger. The emotionally experienced performance helps determine children’s attitude towards the characters and their actions, and evokes a desire to imitate positive characters and be different from negative ones. What they see in the theater broadens the children’s horizons and remains in their memory for a long time: they share their impressions with their friends and tell their parents about the performance. Such conversations and stories contribute to the development of speech and the ability to express one’s feelings.

Children depict various episodes of the performance in drawings, sculpt figures of individual characters and entire scenes.

But the most vivid reflection of the puppet show is in creative games: children set up a theater and act out what they see themselves or with the help of toys. These games develop children's creative powers and abilities. Thus, puppet theater is of great importance for nurturing the comprehensive development of children.

Purpose of the circle

To introduce children to the world of theater, to give an initial idea of ​​“transformation and reincarnation” as the main phenomenon of theatrical art, in other words, to reveal the secret of theater for children;

Program objectives

To reveal the specifics of theater as an art: to introduce the history of puppet theater and the moral sphere of children; awaken interest in reading, teach to see the beauty of the native land, man and his work, feel the poetry of folk tales, songs, love and understand art; make children's lives interesting and meaningful, fill it with vivid impressions, interesting activities, and the joy of creativity; teach children to make their own dolls; to ensure that children can use the skills acquired in theatrical games in everyday life.

Pedagogical principles

A differentiated approach to a child’s education, taking into account his individual capabilities and abilities, the child’s position in the family and school; respect for the individual; using the subject teaching method; encouraging creativity, achieving quality, independent search for an artistic solution: providing conditions for participation in a variety of activities.

Organization of the process

Anyone from the age of 7 who has an aptitude for this type of art is accepted into the circle. The planned number of students in the circle is 15 people. This standard is based on sanitary and hygienic standards. This amount allows the teacher to put into practice the principle of an individual - personal approach to students, which is very important. Classes begin on September 15 and end on May 25. Classes are held 1 hour per week. The class schedule is drawn up taking into account the wishes of students, their parents, as well as the capabilities of the institution. From the proposed distribution of hours for various types, the teacher, at his discretion, can allocate hours for individual work. Students will master this art gradually: they will study history, master the skill of working with a doll, the ability to independently make dolls and props, and then begin working on the chosen play. When organizing work, the teacher needs to remember and fulfill one of the most basic requirements for classes - it is necessary to take into account the influence of the puppet theater on children and be very demanding about the ideological content of the performances, their artistic design and execution. Everything that is shown to children must be highly ideological and methodologically correct. When distributing classes, take into account the level of training and age of students. Make wider use of individual forms of work. One of the important points and conditions for the fruitful work of the circle is summing up the interim and annual results. They take place openly in the presence of all members of the circle. The form is different. At the same time, remember: each person’s successes are compared only with the previous level of his knowledge and skills. At each lesson, the results of the work are summarized in the idea of ​​​​a final briefing. Based on the interests and needs of the children, the order of topics presented and the number of hours may vary.

Educational and thematic plan

Rehearsal of the play. Learning text by heart. Distribution of technical responsibilities.

Dress rehearsal. Sound design.Showing the play to primary school students.

Doll repair.

Methodological literature: “Puppet theater”, T.N. Karamanenko, M. 2001; newspaper: “Primary School”, .№30.. 1999; Magazine: “Primary School” No. 7, 1999; “Playing Puppet Theater”, (a manual for practical workers of preschool educational institutions), N.F. Sorokina, M., 1999, Arkti.

Puppet show

Puppet show - one of the most favorite spectacles of children. It attracts children with its brightness, colorfulness, and dynamics. In the puppet theater, children see familiar and close toys: a bear, a bunny, a dog, dolls, etc. - only they came to life, moved, spoke and became even more attractive and interesting.

Puppet theater gives children pleasure and brings a lot of joy. However, one should not consider a puppet show as entertainment: its educational value is much broader. Primary school age is the period when a child begins to develop tastes, interests, and a certain attitude towards the environment, therefore it is very important for children of this age to show an example of friendship, righteousness, responsiveness, resourcefulness, courage, etc.

To achieve these goals, the puppet theater has great opportunities. Puppet theater influences the audience with a whole complex of means: artistic images - characters, design and music - all this taken together due to the figurative and concrete thinking of a junior schoolchild helps the child to understand the content of a literary work easier, more clearly and more correctly, and influences the development of his artistic taste. Younger schoolchildren are very impressionable and quickly succumb to emotional influence. They actively get involved in the action, answer questions asked by the dolls, willingly carry out their instructions, give them advice, and warn them of danger. The emotionally experienced performance helps determine children’s attitude towards the characters and their actions, and evokes a desire to imitate positive characters and be different from negative ones. What they see in the theater broadens the children’s horizons and remains in their memory for a long time: they share their impressions with friends, talk about

performance to parents. Such conversations and stories contribute to the development of speech and the ability to express one’s feelings.

Children depict various episodes of the performance in drawings, sculpt figures of individual characters and entire scenes.

But the most vivid reflection of the puppet show is in creative games: children set up a theater and act out what they see themselves or with the help of toys. These games develop children's creative powers and abilities. Thus, puppet theater is of great importance for nurturing the comprehensive development of children.

The purpose and objectives of the educational program.

Target:

*introduce children into the world of theater, give an initial idea of ​​“transformation and reincarnation” as the main phenomenon of theatrical art, in other words, reveal the secret of theater for children.

Tasks:

Educational:

Introduce the history of puppet theater;

Arouse interest in reading, feel the poetry of folk tales, songs, love and understand art;

Teach children to make their own dolls;

Ensure that children can use the skills acquired in theatrical games in everyday life.

Educational: -develop children's individual creative abilities;

Develop children's imagination and spatial thinking;

Promote the development of fine motor skills.

Educational:

Foster a respectful attitude towards a person’s work activity;

Develop artistic and aesthetic taste and a creative approach to completing tasks of varying complexity;

Develop communication skills.

Conditions for the implementation of the educational program.

The program is addressed to primary school students and is aimed at the development and correction of higher mental functions.

Recruitment of students to the team is optional.

Classes are held for 1 hour per week.

Total for the academic year – 36 hours.

Expected results of the implementation of the educational program.

The learning outcomes of the program can be determined by the following parameters:

1.Able to design and produce dolls and props of varying complexity.

2. They know how to work with a doll and a screen.

3.Able to competently and reasonably evaluate their creative capabilities, see and correct mistakes.

4. They know how to independently select, learn and act out a role with a doll.

5. They know how to set specific goals and objectives.

6. Develop needs and habits for self-improvement, both knowledge and creativity.

The practical result when making dolls and props is that the child creates his own works, first simple (finger puppets, papier-mâché props), then more complex (frame dolls, decoration elements, etc.)

The practical result of working with a doll is that the child first creates simple images (heroes of fairy tales, poems, jokes), then more complex ones (heroes of stories, plays, etc.).

At the end of the year, exhibitions of works and a performance of the play are held at the school and the district library.

Ways to track and control results.

Children with different personalities and varying degrees of talent come to the creative team. The attitude of an adult should be extremely friendly. It is necessary to celebrate every child’s achievement, no matter how small. It is extremely important to have a correct attitude towards inability, failure, and mistakes, so that the child does not transfer the mistake noticed by an adult, his inability, to the assessment of his abilities as a whole, but learns, together with the teacher, to analyze and understand what his difficulties are.

Children are united by the creative process itself, discussion of the results, holding exhibitions and shows. Relationships in the team are changing noticeably: children are becoming more tolerant and kind.

Each created work clearly shows the capabilities and degree of mastery of each student’s skill. Gradually creating works of both small and large forms the children themselves, teachers see qualitative and creative growth from work to work.

All successes are encouraged, all shortcomings are gently corrected in practice.

By analyzing the creative process of each child and the works created by him, the teacher develops a differentiated and individual approach to students.

The element of creative competition in a team is very important. The results of each lesson are taken into account. Twice a year, in December and May, the results are summed up and the winners in each group are awarded.

Educational and thematic plan.

(36 hours)

Forms and methods of work.

Working with a doll is a labor-intensive process that requires developed imagination, fantasy, systematic actions, and the ability to analyze and predict the result. Not all children have these qualities. Therefore, all stages are thought out and the most rational learning rhythm is chosen.

The learning process is built from simple to complex.Techniques for working with a doll are practiced using simple and small forms, which allows children to gradually encourage creativity, give

an opportunity to believe in yourself, fall in love with this type of creativity and awaken the desire to continue to study. It is necessary to develop the child’s personality, confidence in his abilities, and provide him with the opportunity to show the best, most successful works at exhibitions and shows. At the end of the year, the children participate in a reporting show at school. This shapes children's readiness to solve more complex problems.

The form of classes can be different:

Training session;

Creative workshop;

Master Class;

Visiting and participating in exhibitions and shows;

Visiting museums and theaters.

The classes are structured in such a way that theoretical and practical lessons are given to the whole group. Further work is carried out with each student individually, taking into account his capabilities, age and personal characteristics. Theoretical questions are included in practical lessons and are a channel for the child’s creative initiative.

Educational and methodological support:

Methodological developments;

Information material;

Visual aids;

Photos;

Video materials;

Product samples;

Templates;

Handout.

The theoretical part of the lesson includes:

Setting goals and explaining tasks;

Creating conditions for the development of students’ cognitive independence (it is advisable to ensure that children themselves determine goals, methods, and choose control);

Presentation of new material (conducted in the form of a conversation based on the material already covered and previously acquired knowledge, with the demonstration of new techniques).

The practical part of the classes is based on the following principles:

Accessibility - “from simple to complex”;

Visibility;

Individual approach to each student;

Organizations of mutual assistance in carrying out work;

Multiple repetitions.

Depending on the student's abilities, Various forms of work are used: imitative, partly exploratory, creative.

For each completed piece of work, all members of the team express their opinions: they analyze the advantages and disadvantages, which helps all students once again consolidate their acquired knowledge and take into account possible mistakes.

Requirements for the quality of work are increasing slowly and gradually. This allows for good learning results to be achieved.

At the end of each lesson, a work analysis is carried out and an assessment is given.

Material and technical support of the educational program.

Puppet group classes are held in the office.

The office has technical equipment: a stereo system, a computer. There is a rack for storing discs and video cassettes.

Dolls, props, decorations, and screens are stored in the cabinets. The bookcase contains works by children's writers. There is an album with drawings of product samples; the best creative works also become samples, with the obligatory indication of the author.

The office has tools: scissors, pencils, rulers, pens, templates and everything necessary for making dolls, props and decorations.

The teacher provides materials for making dolls, props and decorations.

1. Newspaper: “Primary School”, No. 30. 1999;
2. Magazine: “Elementary school” No. 7, 1999;
3. Karamanenko T.N. "Puppet Theatre", Moscow 2001.
4. Kochetkova N.V. “We make toys ourselves,” Volgograd: Uitel, 2010.
5. Sorokina N.F. “Playing puppet theater”, “Arkti”, Moscow 2001.