Introduction.

The focus of teachers working with preschool children is on creating the necessary conditions for learning and education; children’s development of a system of knowledge and methods of independent activity; implementation of the state standard of preschool education.

A child’s acquisition of knowledge and skills and the development of his abilities are carried out only through active activity.

The most important activity of a preschool child is play. The game develops thinking, speech, imagination, memory, learns the rules of social behavior and develops appropriate skills.

One of the forms of organization pedagogical process- is a theatrical game.

Through various forms of theatrical play, children improve moral and communicative qualities, creativity, mental processes.

When solving these pedagogical problems, an important role is played by the coordination of theatrical elements with the plan of educational work. Depending on calendar planning, you can select game and stage material. So, with children of primary preschool age, on the topic “Autumn, Autumn, we invite you to visit us!”, You can act out the Russian folk tale “Turnip” using a cardboard theater. IN middle group on the topic “How animals spend the winter in the forest” - dramatization in Russian folk tale"Winter quarters of animals." IN senior group on the theme “Autumn Forest”, you can offer children a mini-dramatization “Lesovichka’s Riddles”, using glove dolls: a bear, a bunny, a fox. IN preparatory group on the topic “Maslenitsa” for the lesson-game “Spring is Red” with folk games and round dances.

At the end of the school year, summing up the results of learning and the quality of children’s knowledge, it is possible to diagnose the level of the child’s emotional sphere and creative expression. The degree of manifestation of children’s emotional and creative abilities is assessed by the following indicators: high level, medium, low. The dynamics of changes in the level of these indicators allows us to draw a conclusion about the advisability of using methods and techniques of theatrical games in the process of educational work.

Practice educational work and an annual comparative analysis of the quality of knowledge and indicators of children’s creative expression show: theatrical forms give impetus to the development of cognitive abilities; activates thought processes; awaken creative initiative, imagination, fantasy.

Theatrical play, corresponding to the age of the child, can harmonize his appearance. Speech exercises, sketches, theatrical story, activity-game, fairy tale quiz, staging a fairy tale - all these forms of theatricalization develop mental processes, improve the moral and communicative qualities of the individual, and awaken the desire for creativity.

Theatrical play promotes:

1. Development of children's speech.

2. Development of moral and communicative qualities of the individual.

3. Development of motor qualities and skills.

4. Development of creative imagination and fantasy.

5. Development of cognitive abilities.

The types of theatrical games are:

1. Games with theatrical elements.

2. Activity-game.

3. Theatrical story.

4. Quiz-entertainment.

5. Performance-game.

The most important conditions in the implementation of game forms of work are:

1. Using speech exercises.

2. Selection of exercises or tasks depending onchildren's individuality.

3. Ensuring psychological comfort in and outside of class.

4. Encouraging children to actively participate in theatrical games, exercises, sketches.

Let us dwell on the methodology of theatrical games and the conditions for their implementation.

I. Games with theatrical elements.

Games with theatrical elements include: speech exercises; sketches for the expression of basic emotions; sketches to reproduce the main character traits; games to develop attention and memory; studies on the expressiveness of gestures; role-playing games.

1. Speech exercises influence emotional and personal

the sphere of the child; develop purity of pronunciation; improve intonation coloring of speech; develop the ability to use expressive means of voice. To perform these exercises, you must first learn the texts. The exercise can be group or individual. It is important that children do this meaningfully, emotionally, and with interest. Texts must be age-appropriate for children.

For example, the following: “Echo”, “We’re going, we’re going on a cart”, “Clean talk” - develop expressiveness of speech, memory, and imagination.

2. Sketches for the expression of basic emotions develop moral and communicative qualities of the individual; contribute to understanding the emotional state of another person and the ability to adequately express one’s own. The content of the sketches is not readable to children.

An emotional retelling of the proposed situation is a condition for creating many game options on a given topic. Sketches should be short, varied and accessible to children in content.

Thus, in the sketch “The Fox Eavesdrops,” children learn to convey the character’s emotional state through a certain posture and facial expressions.

3. In studies for reproduction character trait Children learn to understand what behavior corresponds to what character trait.

The emphasis is on positive behavior models.

Thus, in the episodes “Greedy Dog” and “Terrible Beast”, children convey individual character traits (greed, isolation, cowardice, courage) through facial expressions, gestures, and postures.

4. Games to develop attention and memory develop the ability to quickly concentrate; activate memory and observation skills. In these games, children perform various movements according to a signal, repeat given movements and exercises.

Thus, in the game “Magic Circle”, children perform various movements according to a signal and develop attention; In the game “Wind-up Toys,” players develop motor-auditory memory through transformations.

5. Purpose sketches on the expressiveness of gestures is to develop children's correct understanding of emotionally expressive hand movements and adequate use of gesture. The content of the sketches activates the expressiveness of movements and creative imagination.

In the game "Snowballs" children through their imagination winter fun master the expressiveness of movements; in “Friendly Family”, through pantomime, the accuracy and expressiveness of conveyed actions develops: painting with a brush, knitting, sewing, modeling, etc.

6. Role-playing games Using elements of costumes, props, masks and dolls, they develop creative imagination, fantasy, and communication. Children, together with the teacher, make masks, props, elements of costumes and scenery. Parents can participate in the preparation process.

In the game “Organizing a General Theater,” children, together with their teacher, make dolls from paper bags and cups and act out everyday and fairy-tale scenes. Collective relationships, creative imagination, and fantasy develop.

II. Activity-game.

This form of organizing pedagogical work may include: sketches, fragments of fairy tales, games with theatrical elements.

During the lesson, fragments of a fairy tale are performed in an improvised form. This method of teaching helps to solve software problems in a fun way; has a positive effect on the formation of the child’s emotional and moral environment. At a complex lesson-game based on the Russian folk tale “Masha and the Bear”, children complete the teacher’s tasks to develop coherent speech, develop mathematical abilities, memory, and attention.

III. Theatrical story.

Techniques and methods of theatrical storytelling can be used both during class and outside of it. While reading or narrating a literary work, the teacher himself “plays” the characters, using intonation and emotional coloring of speech. Through expressive reading, acting out episodes; Through illustrative material, children are immersed in the atmosphere of a literary work. All tasks that are included in the program content of the lesson can be solved with the help of expressive gaming theatrical means. An example of such a theatrical form could be a lesson on familiarization with fiction: the Russian folk tale “Khavroshechka”.

IV. Quiz is fun.

The theatrical form of literary quiz-entertainment helps broaden children's horizons; activates emotional and creative potential. Work is underway to make costumes and props. Getting ready musical arrangement, a phonogram is recorded, texts are learned, and excerpts from literary works are rehearsed.

A stage version of the lesson-game based on the works of A.S. Pushkin “Lukomorye” takes children to fabulous trip. In this quiz, children participate in short performances, answer questions, and solve riddles. Preschoolers participate with interest and pleasure in educational theatrical games.

V. Performance-game.

This form of work requires long and careful preparation: a special dramatization is written taking into account the individual age characteristics of the children. IN game form rehearsals are being held. Scenery and costumes are being prepared, posters and theater programs are being produced.

The play-play, based on the Russian folk tale “Turnip”, helps to reveal the creative potential of children, emotionally enriches the performers and spectators of the play.

Thus, children, through various forms of theatrical play, develop moral and communicative qualities, creative abilities, and mental processes.

Practical material.

Speech games and exercises .

1. “Funny poems” (for children 3-4 years old).

Goal: Develop purity of pronunciation. Pay attention to intonation expressiveness of speech.

Progress: Children recite poetry together with the teacher. Gradually, from exercise to exercise, children acquire the skill of intonation expressiveness.

“There is a stump in the swamp,

He's too lazy to move.

The neck does not move.

But I want to laugh!”

“Was there a shoemaker? - Was!

Did the shoemaker sew? - Sheel!

Who are the boots for?

For the neighbor's cat!

“Cat, what’s your name?

Are you guarding the mouse here?

Meow! Do you want some milk?

How about a puppy as a companion?

2. “Echo” (for children 4-5 years old).

Goal: Change intonation coloring when reading a text.

Progress: “We wandered through the dark forest,

We asked in unison:

Is Grandma Yaga at home?

Les answered us:

The text is repeated, only the adverb is replaced - as you asked? –

“Friendly; quiet; menacing; cowardly; boldly…"

3. “We’re going, we’re going on a cart” (for children 5-6 years old).

Goal: To develop clarity of pronunciation, sense of rhythm, expressiveness.

Move: “We’re going, we’re going on a cart,

Collect nuts in the forest

Creak, creak, creak,

Creak, creak, creak.

The leaves are rustling - sh-sh-sh,

The birds are whistling - hit-piryu, hit-piryu,

Squirrel on a branch

He keeps gnawing on nuts - click, click, click, click,

The red fox is guarding the hare (pause)

We drove for a long, long time,

Finally, we’ve arrived!”

Goal: To develop the ability to use expressive means of voice.

Proceedings: “The sun has warmed up (singing a high-pitched sound oo-oo-oo)

A cheerful stream ran down the hill (they wag their tongues, imitating the cheerful “gurgling”).

Filled a large deep puddle to the brim

(“gurgling” with low sounds).

It overflowed (“gurgling” like a wave: up and down).

Bugs crawled out from under the bark (w-w-w)

And insects (z-z-z)

Spread your wings (crash-crash-up)

And they flew somewhere (tr-tr-tr – in a whisper).

Spring has come!”

5. Tongue twisters. Pure talk.

Goal: Improve the clarity of pronunciation.

Move: “Hot bricks!

Get off the stove

Bake it in the oven

Rolls made from flour!”

“Tary-bars, rastabars,

Varvara’s chickens are old!”

“Senya was carrying a cart of hay”

“Sasha knocked off the pine cones with a stick.”

"Eagle on the mountain, feather on the eagle."

“A beetle is buzzing over the honeysuckle,

Green casing on the beetle"

Sketches for the expression of basic emotions.

1. “The fox is eavesdropping” (for children 3-4 years old).

Goal: To develop the ability to understand the emotional state and adequately express oneself (attention, interest, concentration).

Progress: The fox stands at the window of the hut in which a cat and a cockerel live. Eavesdropping. The head is tilted to the side - listening, the mouth is half open. The leg is put forward, the body is slightly tilted forward.

2. “Delicious candies” (for children 4-5 years old).

Purpose: To convey the internal state through facial expressions (pleasure, joy).

Progress: The girl is holding an imaginary box of candy.

She hands it to the children one by one. They take the candy, thank you, unwrap the paper and help themselves. You can see from their faces that the food is delicious.

3. “Walk” (for children 5-6 years old).

Goal: Consolidation of the reproduction of various emotions (joy, pleasure, surprise).

Progress: Summer day. Children are walking. It started to rain. The children are running home. We arrived on time, a thunderstorm begins. The storm passed, the rain stopped. The children went outside again and began running through the puddles.

4. “Battle” (for children 6-7 years old).

Goal: Consolidation of the reproduction of various emotions (joy, pride, fear). Development of creative imagination.

Progress: One child portrays Ivan Tsarevich, the second

Snake - Gorynych (the head and hands are the heads of the Snake). There is a battle going on. Ivan Tsarevich wins. The snake is defeated.

Sketches for the reproduction of character traits.

1. “Old Man” (for children 3-4 years old).

Purpose: Through facial expressions and gestures, convey character traits (cheerful, kind, funny, mischievous).

Procedure: Read D. Kharms’ poem “The Cheerful Old Man” to the children. Children imitate the states and actions mentioned in the poem.

“Once upon a time there lived an old man

Small in stature

And the old man laughed

Extremely simple:

Ha-ha-ha, yes he-he-he,

Hee-hee-hee, boom-boom!

Boo-boo-boo, yes be-be-be,

Ding-ding-ding,

Yes trick-trick!

Once I saw a spider,

I was terribly scared

But, clutching my sides,

Laughed loudly:

Hee-hee-hee, yes ha-ha-ha,

Ho-ho-ho, yes gulp-gul!

Gi-gi-gi, yes ha-ha-ha,

Go-go-go, yes glug-glug!

And when I saw a dragonfly,

I got terribly angry

But laughing on the grass

And so he fell:

Gee-gee-gee, yes gu-gu-gu,

Go-go-go, yes bang-bang,

Oh guys! I can't!

Oh guys! Ahah!

2. “Greedy Dog” (for children 4-5 years old).

Goal: To convey character traits (greed) through facial expressions and gestures.

Progress: The teacher reads a poem by V. Kvitko.

“The greedy dog ​​brought firewood,

I applied water, kneaded the dough,

He baked the pirogov, hid it in a corner,

And he ate it himself - noise, noise, noise!”

Children imitate the state and actions mentioned in the poem.

3. “Terrible beast” (for children 5-6 years old).

Purpose: Through pantomime, convey the character traits and behavior of the characters (brave, cowardly, stupid, cautious).

Progress: The teacher reads V. Semerin’s poem “Terrible Beast.” Children who have received roles act according to the text.

"Right to the room door,

A predatory beast is infiltrating!

His fangs are sticking out

And the mustache bristles -

His pupils are burning -

I want to be scared!

Could this be a lioness?

Can a she-wolf howl?

The stupid boy shouted:

The brave boy shouted:

4. “Magic ring” (for children 6-7 years old).

Goal: To convey character traits (good, evil, fair) through pantomime. Develop creative imagination.

Progress: An evil wizard, with the help of an enchanted ring,

Turns a good boy into a bad one. The boy offends everyone, teases everyone, breaks everything. Finally, tired, he falls asleep. A good wizard offers to save the boy and remove the ring. All the children quietly come up and take off the ring.

The boy wakes up. He is affectionate again and asks everyone for forgiveness. Everyone is having fun.

Games to develop attention.

1. “Be careful!” (for children 3-4 years old).

Purpose: Stimulate attention; respond quickly and accurately to sound signals.

Progress: Children walk to cheerful music. Then, for the word “Bunnies”, children pretend to be bunnies (jumping), for the word “Horses” - horses (hitting their feet on the floor), for the word “Crayfish” - they back away, “Stork” - stand on one leg, “Birds” - they run with their arms outstretched.

2. “Magic Circle” (for children 4-5 years old).

Goal: Carry out movements carefully when given a signal.

Progress: The players stand in a circle. At the signal of the bell, the children take turns making the following movements: one crouches and stands up, the other claps his hands, the third crouches and stands up, etc.

3. “Listen to the claps” (for children 4-5 years old).

Goal: Develop active attention.

Progress: The players go in a circle. When the leader claps his hands once, the children must stop and take the stork pose (stand on one leg, arms to the sides). If the leader claps twice, take a frog pose (sit down, heels together, toes and knees to the sides, hands between your legs on the floor). After three claps, the players resume walking.

4. “Milchanka” (for children 6-7 years old).

Goal: To develop attention and the ability to focus quickly.

Move: Leading:

Hush, mice!

Cat on the roof

And the kittens are even taller!

One, two, three, four, five, -

From now on it's time to be silent!

The players fall silent. The driver watches who speaks or laughs. This child pays forfeit. When there are 5-6 forfeits, they are played out. Each owner performs an artistic performance.

Memory development games.

1. “Remember your place” (for children 3-4 years old).

Progress: Children stand or in different corners of the room.

Everyone must remember their place.

Cheerful music sounds, everyone “turns into birds and moves around the room. The music ends. Everyone must return to their places.

2. “Wind-up toys” (for children 4-5 years old).

Goal: To develop motor-auditory memory.

Progress: There are toys in the wind-up toy store: dolls, bunnies, bears, frogs, birds, butterflies. Music sounds: “The toys’ factory is turning on.”

Children move around the room. The music stops and the children return to their seats.

3. “Artist” (for children 5-6 years old).

Goal: Develop attention and memory.

Progress: The child plays the role of an artist. He carefully examines the person he will “draw”, then turns away and gives him a verbal portrait.

4. “In the mirror store” (for children 6-7 years old).

Goal: Develop observation and memory.

Progress: There were a lot of large mirrors in the store. A man came in with a monkey on his shoulder. She saw herself in the mirrors and thought that they were other monkeys and began to turn her head. The monkeys answered her in kind.

She stamped her foot - and all the monkeys stamped their feet. Whatever the monkey did, everyone repeated its movements exactly.

Studies on the expressiveness of gestures.

1. “Quiet” (for children 3-4 years old).

Goal: To develop expressive hand movements and adequately use gesture.

Progress: Little mice cross the road where the kitten is sleeping.

They either walk on their toes, then stop and sign to each other: “Quiet!”

Expressive movements: the neck is stretched forward, the index finger is placed on pursed lips, the eyebrows “go up.”

2. “Snowball fight” (for children 4-5 years old).

Progress: The sketch is accompanied by cheerful music. Winter. Children play in the snow. Expressive movements: bend down, grab the snow with both hands, make a snowball, throw a snowball with sharp, short movements.

3. “Game with pebbles” (for children 5-6 years old).

Goal: To develop expressiveness of movements and creative imagination.

Progress: Children walk along the seashore, bending over pebbles.

They enter the water and splash, scooping up water with both hands. Then they sit on the sand and play with pebbles: either throwing them up or throwing them into the sea. Light music is playing.

4. " Friendly family"(for children 6-7 years old).

Goal: To develop expressiveness of movements and creative imagination.

Procedure: Children sit on chairs in a circle. Everyone is busy with something: one sculpts, another hammers a nail into a board, someone paints with a brush, someone sews, knits. Children perform pantomime with imaginary objects, trying to convey actions more accurately.

Role-playing games using elements of costumes, props, masks and dolls.

1. “Playing a fairy tale” (for children 3-4 years old).

Progress: The teacher acts as a storyteller. Children, using masks and props, act out a fairy tale they know. (“Turnip”, “Teremok”, etc.)

2. “Guess the situation” (for children 4-5 years old).

Goal: To develop creative imagination and fantasy.

Progress: Children take turns using props and costume elements to “create a situation.” The rest are guessing:

1) “Tanya collects mushrooms in the forest.”

The girl portrays a mushroom picker, in her hands is a basket and a staff, and on her head is a scarf.

2) “Oleg swims underwater.”

A boy wearing a diving mask and a rubber cap pretends to be a diver.

3) “Katya got caught in the rain.”

A girl in a raincoat with an umbrella jumps through puddles, shivering from the cold drops.

3. “Blind Man’s Bluff” (for children 5-6 years old).

Goal: To develop communication, creative imagination, fantasy.

Procedure: All children, together with the teacher, prepare mouse and cat masks. The eyes of the cat mask are not cut out. Children sit in a circle. “Cat” is in the center. Cat: “Mouse, mouse, look!” One mouse fulfills the request. A cat in a mask with painted eyes doesn’t see who. She must guess whose voice it was. If he can’t, let him touch the mouse’s clothes. When he guesses correctly, a new mouse is selected.

The game continues.

4. “We will organize a universal theater.” (for children 6-7 years old).

Goal: To develop creative interaction, imagination, fantasy.

Procedure: All children, together with the teacher, make dolls from gloves and paper bags. Then they act out everyday or fairy-tale scenes.

Literature

1. Burenina A.I. From game to performance. Methodical manual. St. Petersburg, 1996.

2. Genov G.V. Theater for kids. M., “Enlightenment”, 1968.

3. Gurin Yu.V., Monina G.B. Games for children from three to seven. St. Petersburg, “Rech”, 2008.

2. Kryazheva N.L. Development of the emotional world of children. Ekaterinburg, U-Factoria, 2004.

4. Orlova F.M. We're having fun. M., "Enlightenment", 1993.

5. Ulikova N.A. In a word, the soul grows.” St. Petersburg, “Start”, 1999.

6. Chistyakova M.I. Psycho-gymnastics. M., "Enlightenment", 1999.

7. Theater lessons at the school of the Scientific Research Institute of Academy of Pedagogical Sciences of the USSR. M., “Pedagogical workshops on artistic education”, 1990.

8. Fopel K. How to teach children to cooperate. M., Genesis, 2006.

Many people ask the same question:

Musicians constantly argue about this topic (what to play music or exercises). Everyone has their own opinion, because everyone is an individual.
The answer is music.

I thought about this a lot and discussed this topic. I came to the conclusion that it is necessary to do this, but this is not the goal. The goal is to play music...

Have you ever had a moment when you were told:

Well, you’ve been going to the guitar for a year now and can’t play anything worthwhile, but Sanyok, your neighbor, doesn’t go anywhere or see anyone, he plays nirvana and all sorts of riffs, and you’re all scales and etudes.

Regarding the fact that someone came and said play something... it will always be like this... there was such an example with me personally, when I went to my teacher, and there sat a guy who did not want to learn notes and play on principle exercises (my age). At that time, of course, he played perfectly (in my opinion), but then I still didn’t understand how he played, cleanly, dirty, evenly or unevenly... then he simply played some solo that was too popular at that time (some of Deep Purple) and it seemed to me that this was the height of skill.

“Cool,” I thought, and why don’t I study this with my teacher?

In fact, when he left, my teacher told me that such people are used to playing “chips.” They don't work on learning the instrument in depth. They don't like to do painstaking work. As a rule, the filigree of technology is not honed. And as a rule, they study forever. Well, it’s clear that we are all learning forever, because there is no limit to perfection, but here we are talking about something a little different. This means that they need to work on the sound, on vibrato, rhythm and other musical things. And since they don’t go deep into it, they constantly need to show it and work on it. If they don’t specifically practice this in sketches and exercises, then they won’t be able to do it.

-How to do and what, you ask? Yes, that's the right question!

The most important thing when you want to start playing guitar professionally, or, say, some other musical instrument, is
don't give up. Yes, yes, don't give up. Because at first nothing will work out. This period takes approximately a year. The year is my statistic. Since I have been teaching guitar quite a bit since 2001. During this time, believe me, I retrained quite a lot of people. And he managed to discover some observations of his students. For example, the fact that our hands begin to obey when we exercise them correctly and set the right goals and objectives for ourselves.

At first, you need to do different exercises for your hands, or more precisely, for your fingers. Hone transitions from string to string, work on hand endurance, vibrato, braces, sweep, legato, tapping and other techniques, we will not list them all, since there are plenty of them. It is better to do all this on sketches. Etudes are small pieces aimed at developing the performer's musical technique. You should definitely keep them in your arsenal. Preferably more, say 5-10.

This is a very important element in playing the guitar, because if you play some long piece, you simply will not be able to finish it. Why, because you simply don't have the stamina. Halfway through the musical text, your hands will begin to clench from fatigue. It’s worse if you also play with unrelaxed hands. Then the game of long plays will end in double. First, learn to relax while playing, then you will be able to play long pieces in sixteenth notes, without stopping. In fact, musicians are called “small muscle athletes.” That's right, I think you will agree with me? If a person does something every day, his body first begins to resist and then gets used to it. Soon the body takes it for granted. For example, running 5-10 kilometers or more. You can compare it to a cross-cutting exercise.

This is when you and I play all the notes in a row in the first position. For example, the first string is 1-2-3-4 frets, then 2-3-4-5, and so on, then we go down the same principle. I think everyone understood what we were talking about. So, this exercise reminds me a lot of a six-kilometer run. Because if you and I run a cross-country race, each lap is a kilometer, then we need to run six laps. How will we do this? Just run all six laps without stopping and that’s it, right? It's the same with playing the guitar. You need to play through the exercise all six strings without making the slightest pause, and play at a good tempo. It’s not like you play, but watch TV yourself, and God forbid the “let’s get married” program, thinking that I’ll learn to play and go to the program to win the hearts of beautiful ladies, but concentrate my attention on the fretboard.

Which was voiced at the beginning of this topic: some Sanek will ask you to play something for him... After all, he plays metallica and all sorts of riffs, and wants to measure his strength with you. He doesn’t go anywhere, but you go and spend money, he’ll say. And on the one hand, it turns out that in his own way he is right... after all, what do the people need? People need to play something painfully familiar and melodic, sometimes, of course, fast...

You won’t play at a birthday party or just like that, some surprise for your girlfriend: “etude in G flat major sharp”)) This is somehow completely different. And your girlfriend will feel awkward because she simply does not understand what you are playing to her. She simply won’t understand your scales and exercises. A beautiful smiling face with brightly painted eyelashes, she will still have to build at this moment for you. Make a cute and at the same time interested look in what you are doing there. Although, on the other hand, if there is love between you, then whatever you do for her, she will be pleased. After all, you are doing this only for her!

It turns out the same way as if you started going to the gym and after a month, or even two, you wanted to show off your “muscles” to your beloved. If you dressed like that in a T-shirt, smeared yourself with makeup for bodybuilding athletes. You walk out the door and voila, what does she see? It’s clear that in a month or two, she will see a stranger painted brown in a white T-shirt and nothing else. Yes, you yourself will not appear to her like that, although... who knows, your games;)

Well, that's it, a small digression...

Therefore for good sound A certain amount of time must pass before you can install your sound and equipment.

But if you play with poor quality sound and, on top of that, it’s not smooth, then in the end they’ll just come up to you and say:

Don't worry, you'll learn more!
And you will agree that this is not a particularly bright compliment :)

Something more musical is needed here.

And people won’t like it at all. We are mostly used to listening to either something popular or something melodic... If we play a fast etude for the people. Even if you perform it well: make it dynamic, crescendo, diminuendo, it is unlikely that those people who will be at your celebration will be able to appreciate it. Those who will be their faces in the salad will definitely not be able to do this..

In fact, that’s how it is, now it’s a different moment. Look, when a person wants to start doing something seriously, and not superficially, what does he do? Starts from the very basics... generally from the basics. For example, take ballroom dancers. This topic is close to me, since my eldest son is engaged in ballroom dancing. And I see what he already had to go through to achieve success in this amazingly beautiful art. It's just that it's much easier to teach why to young children, because they accept everything you tell them. They don't ask you:
-Why do I need to play this scale?
-What will this exercise give me?
-When will I play fast passages? etc.

Children are just that, children. This is their big advantage in training. They absorb everything like a sponge. Unfortunately, sometimes they absorb bad things too, but what can you do?
Look what a huge plus this is:

You can pump up your fingers in a year or two, hone your technique to a good result. Work on theoretical points such as intervals, triads, seventh chords, scales, pentatonic scales and much more. And after this, the student (no matter big or small) acquires a culture of sound. Here he himself can determine who plays how and how he should play. There is already a foundation on which he can firmly rely and develop further.

Many years later the same student came to me,

about whom I wrote at the beginning, who played Deep Purple. We figured it out word by word. What happens? It turns out that initially my teacher gave me a basis that seemed incredibly boring to me at that time. But the most interesting thing is that after several years, thanks to these seemingly boring scales and exercises, the guitar became a part of me. I began to understand how to play, how to compose, improvise, what the sound should be...

Many guys don't understand the importance of exercises and etudes. Give them everything at once. And sometimes it turns out really interesting. Especially when someone comes to study for the first time. They set the following task: I want to play cool! They say the following:

I don’t need scales, the exercises are very boring and I simply won’t play them, I don’t play with an alternating stroke, I play with my own stroke, it takes a long time to relearn and there’s no time for that. I just want to play rock!

Sometimes you just want to say, but how do you imagine this? After all, in essence, if you came, for example, to karate (I once went there for five whole years. I even broke boards with my fist. I don’t understand how I did it now.) and say:
-Let me break something from you, like a board or a brick, I’m not interested in push-ups with my fists. And I’m not interested in your running in circles either. Just give me a couple of tricks and that's it...

But at one time I was the same. I asked my teacher to play the most difficult pieces. He then told me:
-Kolya, you’re about to “break all your fists” over this play. What's the point in playing it now? because today you are simply not ready for it. Wait a year or two. Let's work on the sound, rhythm and then it will sound like it's supposed to! All this was not very clear to me then. Now I find myself in the same situation and I understand perfectly well that everything has its time. You need to prepare for complex compositions, otherwise it will simply be performed poorly.

My teacher was 100% right then. Because they look at music differently. They want to hear it perfectly from our hands. So that the composition sounds beautiful, smooth and dynamic. Therefore, at first you need to practice the sound, rhythm, and technique of playing the guitar. And only then will you be able to amaze all your loved ones by playing not just as a young man, son, husband, father or grandfather, but as a true professional. And don’t worry about such compliments... no one will be able to tell you, but they will only shake your hand and ask:
-Where did you learn to play like that?

Therefore, we can conclude from all of the above:
Playing etudes and exercises is absolutely necessary in order for you to grow in sound and technique. But it’s also worth noting that you don’t need to focus only on sketches and exercises alone. Since the music itself is not an exercise or an etude, it is music. And she needs to study too. And since you will already have experience playing various kinds of exercises and etudes, you will be able to play much more musical works. So when you are asked to play something, you can demonstrate it with ease!

Don’t be discouraged by the fact that you are only playing etudes and exercises for now.

After all, this is one way or another the basis of your musical growth. Believe me, everything has its time.

After all, when we play etudes and exercises, we work on ourselves. We are working, not having fun, sitting near YouTube in search of an interesting and simple riff. Now we can create it ourselves and teach Sanka to play like you, since now we know what the sound consists of and how to perform it correctly. And Sanya will continue to ask how you achieved this. He doesn’t study seriously, why does he need to know intervals, triads, scales, pentatonic scales, seventh chords and other musical guitar theory. He also plays in a punk rock band. And most importantly, he has long hair))

Unfortunately, such people look at everything superficially and do not delve into the essence. As a rule, they do not study with a music teacher. And since he simply doesn’t have it, no one can give him a good kick and suggest the path of development. And if no one shows you, then you won’t be able to find the “way” alone.

Many of us really need a kick in one place.

Sometimes it's just not enough. Sometimes I just want someone to call me and say: did you study today? Let's take the instrument, stop sitting at the computer, and go practice!

It is best to teach children not etudes, but simple melodies. Think in images.

When children at the age of 6 come to Muz. school, then they are taught to sit, and then they begin to learn an easy one-voice melody. I remember it "On a Green Meadow". Then a song about a bunny. I had to sing and play. Everything is on three notes - popevki. But the teacher clearly directed that you need to play “like a bunny galloping”, and not like “an elephant stomping”! The child understands that it is necessary to reflect the image in music - a “bunny” or a cheerful “shepherdess” with a pipe, or a Christmas tree that is cold in the winter of a mouse))) Then, six months later, the first exercise begins - scales. For arm training.
This is a secondary activity, rather an additional one. The main classes were learning plays from simple to more complex.
This is a classical piano school that has produced a huge number of stars on the world stage (Richter, Matsuev, etc.)

Draw conclusions on how and what to do to become a musician.

According to the student’s level, gradually complicating the tasks (it’s good if the teacher knows the methodology, and not just his dude).
When playing music (for example, B.B. King's part), a simple blues guitarist (meaning a rock guitarist) immediately works on all aspects of the artistic image, phrasing, intonation, rhythm. In this case, his thought works to create a musical picture. And the fingers are trained in parallel, performing the task set by the head.

Many take a different path. They start training their arms first. Thinking that “I’ll practice the exercises and then (when I’m ready) I’ll start playing music.” This approach risks turning everything into sports activities. And since you can train your hands ad infinitum (it will always seem that I still don’t know much), many people never get to music. Ask this person to play a simple song, with an introduction, development, climax, (that is, with an understanding of the form), he will best case scenario will drive up and down speed scales. Because what you gave time to is what you got.))) Whoever devotes time to music receives music. And whoever trains his fingers gets trained fingers. He just doesn’t know where to use them. It turns out like a “headless horseman”))))
Of course, without exercises and technical studies, learning does not occur. Nobody canceled the exercises. But they do not become the main priority and center of the universe.

From all of the above, we can conclude: The main thing is to play music, and the rest is up to you...

Example of an etude for electric guitar:

MUNICIPAL BUDGETARY PRE-SCHOOL EDUCATIONAL INSTITUTION KINDERGARTEN OF A COMBINED TYPE No. 5 “OAK” ARKHANGELSKAYA STANITS

CARD FILE OF SKETCHES

(theatrical activities in preschool educational institutions)

Prepared by:

teacher Nekhorosheva E.N.

2014

Card index of sketches

Sketch “Buying a theater ticket”

Children in a creative semicircle. The teacher introduces them to the new word “etude”: “This is a French word

origin and is translated as “teaching.” The concept of “study” is used in painting, music, chess

and performs the role of preliminary, training work. In theatrical art, a sketch is a small

a performance in which a certain event should occur in the proposed circumstances, conditions,

situations."

The teacher invites the children to compose a sketch on the topic “Collective exit to the theater”, asks: “What

must you do before going to the theater? Where are theater tickets sold?(At the theater box office.) Who

sells tickets? (Cashier.)"

For the sketch you need a table and a chair. Children set up props on stage. The teacher places on

on the table there is a sign with the inscription “Theater box office”.

Teacher. We have a theater box office. We need someone to act as a cashier.(Wishing child

sits down at the table.)Before you go to the box office to buy your tickets, you must answer the questions. Who are you, where are you from?

come, how many tickets do you want to buy and for whom?

All children stand in line at the cash register.

Teacher. Guys, have you ever watched how a queue is created? This happens when

The cashier does not have time to serve customers. What can you come up with so that there is no line at the checkout?

(Add cashiers.)This is what we will do - increase the number of cashiers. Not everyone will come to the cash register

at once, and gradually 2-3 people at a time.

The etude is rehearsed two or three times.

Study "Consolation".

Target. Develop the ability to convey emotional states using facial expressions and gestures.

The boy accidentally broke the girl’s toy, she is crying, the rest of the guys must calm the girl down,

console. The actress playing the girl is “crying.” Children surround her, and everyone offers their own option.

consolation (gives new game shku, tries to repair a broken one, etc.).

Sketches - moods

Target. Develop the ability to convey emotional states using facial expressions and gestures.

Sketch "New doll"

The girl was given a new doll. She is happy, jumps merrily, spins, plays with her doll.

Sketch of "Baba Yaga"

Baba Yaga caught Alyonushka, told her to light the stove so that she could then eat Alyonushka, and she herself

fell asleep. I woke up, but Alyonushka was not there - she ran away. Baba Yaga was angry that she was left without dinner,

runs around the hut, stomping his feet, waving his fists.

Sketch "Bear Cubs"

The cubs are lying in the den. A strong wind blew and made its way into the den. The cubs are frozen.

They are curled up in balls, warming themselves. It got hot, the cubs turned around and growled

Study "Focus"

The boy was very surprised: he saw how the magician put a cat in an empty suitcase and closed it.

him, and when I opened the suitcase, the cat was not there... A dog jumped out of the suitcase.

Sketch "Home Alone"

The mother raccoon went to get food, the baby raccoon was left alone in the hole. It's dark all around, you can hear

different rustles. Baby raccoon

scary - what if someone attacks him, and his mother doesn’t have time to come to the rescue?

Sketch "The fox eavesdrops"

The fox stands at the window of the hut in which the cat and the cockerel live, and overhears what they are talking about

They say.

Sketch "Vaska the Cat"

The hostess baked a sour cream pie for the holiday and went to dress up. Vaska the cat sneaked into

kitchen and ate the pie. The hostess came running to the noise and began to scold Vaska. Vaska felt ashamed.

Sketch "Salty tea"

The boy watched TV while eating. He poured himself some tea and, without looking, mistakenly

sugar and poured two tablespoons of salt into my cup. I stirred and took the first sip. How disgusting

it was in his mouth!

Sketch "New Girl"

Came to the group new girl. She was in an elegant dress, holding a beautiful doll in her hands,

she had a large bow tied on her head. She considered herself the most beautiful, and the rest of the children -

unworthy of her attention. She looked down on everyone, pursing her lips contemptuously...

Sketch "In the Forest"

Friends went for a walk in the forest. One boy fell behind, looked around - there was no one. He became

He seems to hear some rustling, cracking of branches - what if it’s a bear? (FEAR) But

then the branches parted, and he saw his friends - they were also looking for him. The boy was happy:

Now you can go home! (JOY)

In the process of discussing sketches with preschoolers, it is important (on behalf of the game character)

pay attention to the correct, accurate expressions of emotions by children. You can show on the screen

images of certain emotions. In case of difficulties, encourage children to help each other.

Mimic and pantomimic games sketches

Sketch “In the Rain”

Learn to imitate simple movements.

Develop fine motor skills hands

Equipment and materials: large umbrella, audio recording of the sound of rain, sheets of blue paper for each child.

Progress of the sketch.

Children begin to run in the “rain” and put their palms under its “drops”. The music begins to sound more alarming, and there is a real downpour in the forest! An adult opens an umbrella and calls the children, offering to hide from the rain. The teacher under the umbrella happily greets the children, imitates movements - as if wiping their noses, hands, shaking off raindrops from their clothes, inviting the children to do the same.

Then the teacher invites the children to be the “rain” themselves. He asks them to make drops from blue paper (tear blue paper into small pieces, roll them into small balls) and then toss them up. The teacher shows how you can throw drops on yourself or another child.

Sketch "Droplets"

Goals: - teach children to express emotions of joy and sadness.

Cultivate emotional responsiveness to music.

Develop orientation in space.

Equipment: audio recording of the sound of rain, sheets of blue paper for each child.

Progress of the sketch.

Children make “droplets”, toss them, trying to “wet” as many people around them as possible.

Then the adult draws the children’s attention to the fact that the rain has stopped, the sun has come out and they can take a walk or run around the clearing.

Study "Hedgehogs".

Goals: - to develop the ability to control a bibabo doll.

Learn to imitate the movements characteristic of a hedgehog.

Develop the ability to play next to each other, interact with each other.

Equipment: bibabo dolls, audio recording of melodies of various types.

Progress of the sketch.

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

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

Calm music sounds. The teacher reports that the danger has passed and invites the “hedgehogs” to turn around, stretch, then lie down and relax in a forest clearing.

Sketch “Walking through the forest”

Goals: - to develop the ability to imitate movements, imitating the actions of the teacher.

Equipment: autumn forest decorations - leaves, cones, mushrooms, stumps.

Progress of the sketch.

We are walking through a dense forest

(children straighten up and walk carefully).

Branches interfere with walking (they push the branches away with their hands).

We need to step over a fallen tree

(raise their legs high, as if stepping over),

go around the stump (stop and go around in a circle).

Here again the branches are preventing us from walking (they walk forward carefully),

The branches get into the eyes (they push the branches away with their hands, one by one moving them to the sides).

Sketch “Flying Leaves”

Goals: - clarify ideas about autumn.

Learn to imitate movements, imitating the actions of the teacher.

To instill in children a caring and kind attitude towards nature.

Enrich children's motor experience.

Equipment: autumn leaves.

Progress of the sketch.

The last leaf (the child takes one leaf),

Take me to the forest

(holds it in front of him with both hands).

The wind blew (blows on a leaf and runs,

Hold the sheet in front of you) -

I'm flying, flying, flying...

Sketch "It's Raining"

Develop the ability to answer questions.

Develop the ability to tell a fairy tale using plane theater.

Develop the ability to imitate the simplest movements of animals and insects.

Develop orientation in space.

Equipment: flat animal figures, recording the sound of rain.

The course of the rain.

Children run in the rain, expose their palms to the raindrops, and open imaginary umbrellas over their heads.

Children sit on the carpet and remember in which fairy tale animals hid under fungus from the rain. Then an audio recording of V.G. Suteev’s fairy tale “Under the Mushroom” is played. While listening to the fairy tale, they imitate various movements and sounds corresponding to the situations of the fairy tale: the sound of rain - tapping their fingers on the carpet; the flight of a butterfly - they wave their arms; the voice of a frog is croaking; hare ears - shown with hands; movements of the fox's paws - mincingly moving their hands along the floor; the sun - they trace a circle with their hands.

An adult invites children to tell a fairy tale, using flat animal figures, to explain why, why all the animals and insects fit under the fungus.

The teacher asks the children to depict the facial expressions and poses of each character in front of the mirror during the rain and after the sun came out.

Sketch “Joy and Sadness”

Objectives: - to introduce children to the expression of emotions of joy and sadness.

Equipment: - a set of drawings depicting faces with different emotions.

Progress of the sketch.

Standing in front of the mirror, together with the teacher, children depict sadness and joy on their faces.

Sketch “Who Walks How”

Goals: - consolidate children's ideas about animals and poultry.

Teach children to imitate movements characteristic of various animals, accompanied by music.

Teach children to play together together.

Equipment: toys depicting a chicken, hen, cat, rooster, frog; hero costumes.

Progress of the sketch.

An adult invites children to turn into the heroes of K.I. Chukovsky’s fairy tale “Chicken” and show how they can walk, imitating the movements of a chicken, hen, etc.

The group contains toys depicting fairy tale characters. Children choose any character and go to him, accompanied by certain music, imitating the movements.

The teacher invites the children to turn into fairy tale characters and play. An adult helps children assign roles to become a hen, chickens, a cat, etc.

Sketch “Aibolit on the way”

Develop emotionality and expressiveness of movements.

Progress of the sketch.

The teacher asks the children to depict trees (the children raise their arms and sway, moving their leaf-like fingers), then the wind (blowing), hail (knocking their fingers on the floor).

Sketch “How did the Cucumber become brave!?”

Goals: - to develop figurative ideas in children.

Develop expressiveness and emotionality of movements.

Cultivate courage in children.

Equipment: Cucumber costume, leaf blanket.

Progress of the sketch.

The teacher (child) puts on a Cucumber costume and lies down on the carpet. Children cover his head with a leaf blanket. The child feigns fear and trembles. Children narrow the circle, pet Cucumber, hug him, say gentle words: “Don’t be afraid, we are with you, you are brave,” etc. Cucumber stands up, throws off a leaf, says in a cheerful, loud voice: “I am brave!” I’m not afraid of the dark!” After this, the role of the Cucumber is played by other children. The sketch is played out by each child.

Sketch “Fishing”

Goals: - to develop figurative ideas in children.

Learn to imitate movements.

Introduce children to the expression of emotions (joy, annoyance, grief, disappointment).

Progress of the sketch.

The teacher invites all children to an imaginary river and asks them to guess what he will do now. The teacher imitates fishing, depicting different emotional states (joy, annoyance, grief, disappointment). Then he puts the caught fish in a bucket. Children must determine by the face of an adult whether he managed to catch a fish or not, a large slave or a small thing. Then the teacher invites the children to imitate fishing, and the caught fish should be placed in an imaginary bucket.

Sketch “Strawberry growing”

Goals :- develop figurative ideas in children.

Learn to imitate movements in accordance with the pictures.

Strengthen children's ideas about plants.

Develop expressiveness of movements.

Teach children to play together.

Equipment : a set of pictures depicting the stages of plant development, costumes for characters from the fairy tale “Strawberry”.

Progress of the sketch.

The teacher shows the children a set of pictures depicting the stages of plant development, and we invite them to arrange these pictures sequentially in order to understand how a plant develops from a seed: first, a sprout appears (children sit huddled in a ball); then the stem extends (children gradually rise); a twig grows from the stem (children move one hand to the side); a flower blooms (children unclench their palm upward); the flower fades (palm drops); A small berry is formed (the palm is clenched into a fist).

The teacher shows a basket in which they find costumes for the characters from the fairy tale “Strawberry”.

The teacher suggests putting on costumes and acting out a fairy tale. Children dress up, rehearse their roles in front of the mirror, trying to transform into the character, and then, with the help of the presenter (teacher), act out the fairy tale “Strawberry”.

Sketch “Good - Bad Weather”

Goals: - develop children's creative imagination.

Introduce children to expressing emotions of joy and sadness.

Equipment: audio cassette “Sounds of the Forest”, pictograms “My Mood”.

Progress of the sketch.

The teacher invites the children to imagine how warm and light it is in a fairy-tale forest, beautiful flowers grow on a green lawn, and butterflies flutter merrily above them. He asks the children to just sit on the lawn and listen to the insects “singing” (you can use the “Sounds of the Forest” audio cassette).

The teacher asks the children about their mood. Asks to depict it using pre-prepared pictograms.

The teacher tells the children that it became dark in the forest, a cold wind blew, it began to rain, and the butterflies hid in the bark of the trees. The teacher asks the children what mood they are in now and asks them to depict it with the appropriate pictogram.

The teacher notices that in the rain the mood can be different. He invites children to remember who can enjoy the rain.

Buslova Svetlana Petrovna
Job title: teacher
Educational institution: GBDOU No. 46
Locality: Pushkinsky district, city Saint Petersburg
Name of material: methodological development
Subject: "Themed games sketches with children of middle preschool age".
Publication date: 24.02.2017
Chapter: preschool education

THEMATIC

GAMES

SKETCHES

CHILDREN

MEDIUM

PRESCHOOL

AGE

Advantage

proposed

is

answer

social

situations

development

presenter

activities

children 4-5 years old and are a fun activity for preschoolers.

The games offered are varied in use and, above all, become

form of educational organization regime moments. Selection of games by

topics

look

directly

educational

activity

average

preschool

age,

especially

the final stage of mastering a specific topic.

A sketch game is a small dramatization based on a poem

text, which is carried out by children together with the teacher. Considering

methodology

organizations

similar

carried out

as follows: the teacher reads the text, asking the children to show

separate

actions

prepared,

Fragments of the characters' behavior are improvised.

literary

similar

The teacher should be guided by the following criteria:

The selection of artistic words should be carried out taking into account

characteristics of children in order to evoke a strong emotional response in the child

belonging

tells

artistic

work;

literary

works

support

interest in cultural and hygienic processes and forming ideas

about the need for cultural and hygienic skills;

Inducement

activity

independence

use

cultural and hygienic

activities and intensifying their use in everyday life.

literary

works

approach

dramatization:

required

actions

Hygiene:

"Warm water"

I. Demyanov “Zamarashka”

A. Kondratiev “Mirror”

R. Sef “Soap”

E. Moshkovskaya “Ears”

"Sun early in the morning"

I. Tokmakova “Gnome”

R. Kulikova “Soap”

Meal:

G. Lagzdyn “Did you feed the doll?”

O. Driz “What a mess!”

E. Moshkovskaya “Masha and porridge”

S. Kaputikyan “Who will finish drinking sooner?”

“They stomped their feet”

A. Prokofiev “In the Evening”

G. Lagzdyn “Simply delicious!”

I. Tokmakva “Oh yes soup”

Neatness:

“I’ll braid my hair”

“Where is my finger?”

“I’m already 4 years old”

“I’ll tie my scarf tighter.”

V. Bardadym “This is how they dressed Galya”

G. Lagzdyn “Dressing the baby”

S. Kaputikyan “Have mercy on us!”

E. Uspensky “The boy does not want to get his hair cut”

E. Blaginina “Like our Irka”

E. Moshkovskaya “Mitya and the Shirt”

Taking care of things and toys:

K. Janet “Brothers”

A. Shibaev “Girlfriends”

I. Muraveyka “I myself!”

M. Alexandrova “What you took, put it back!”

A. Barto “Horse”

E. Blaginina “Come and take a look”

N. Glazkova “Tanya the Mistress”

"Boy Petya"

For the implementation of games-studies in working with children of secondary preschool

age

required

organization

spatial development

creation

positive

emotional

registration

premises

are being introduced

photos

joint washing, dressing, hardening, cleaning the room and apartment.

pleasure

are considering

teacher

Selected audio recordings of literary material, sounds of nature, children's

musical

works,

are periodically listened to by pupils.

diversity

sketch games

achieved

through game attributes, in the group you need to pick up toys

desktop

planar

substitute items,

theatrical

dolls (various animals, people, household and hygiene items).

desktop

initial

are used

realistic rubber and soft toys of a certain size that

the child can hold them in their hands and carry out play actions with them

(wash, comb hair, brush teeth, carefully feed, change clothes). This

bunnies, dogs, cats, fox, bear, etc.

Then theatrical toys are introduced into practice with children, which

have less resemblance to natural objects. For the development of small

hand motor skills using finger puppets and theatrical ball puppets

(made from foam) that fit over one finger. At the end of the year

planned

familiar

theatrical

bibabo dolls

a hole in the head for the index finger and two holes for

thumb and middle finger.

further

are introduced

planar

graphic

images.

planar

act

illustration figures,

glued to sticks, as well as cut out paper figures,

which are attached to a flannelograph, a carpet printer, to a stand-book, to

flat screens. The group should have sets for the sketch games “Here

how Galya was dressed”, “Did you feed the doll?”, “Brothers”, “Girlfriends”, etc.

In order for children to be able to separate a fairy-tale situation from a real one,

attention is paid to the special organization of the game space. During

sketch games

define

magical

possessions

are designated

ways:

volumetric modeling - screen, curtain, folding book,

cubes,

modeling

space

plane

flannelograph, carpet printer, table, floor using thread, ribbons, hoop, etc.

n. In this case, showing the method of action is important. For example, in the game-etude

“I’ll braid my hair”, the cubes mark the walls of the room. In the game-study

The “gnome” demarcates the “street” from the “children’s house” with ribbons.

Education

actions

substitute items

is happening

the process of creating scenery for sketch games, interior design

poems using everyday objects - furniture (chairs,

tables), available materials, models, crafts made in class

in fine arts and manual labor.

Thus, in organizing space it is important:

use

desktop

(rubber

toys),

planar

substitute items,

theatrical

(finger

theatrical puppets on balls, bibabo), that is, all types of theater, taking into account

characteristics of children.

consider

possibilities

simple

complex,

realistic rubber and soft toys to bibabo dolls), while very

use

adults

ways

actions

toys,

space modeling.

awaken

average

preschool

age

sketch games,

necessary

conduct

The duration of the game corresponds to the age of the children: in the middle group -

20-25 minutes.

Sketch games

are offered

unlearning

increasing demands on the child’s behavior in the group. So, if at the beginning from

the child requires simultaneous and identical action (“What a mess!”

“Warm water”), then sketch games are offered in which you need

act in turns, in small groups (“Did you feed the doll?”, “Who

Will he finish his drink soon?”, “Mirror”, etc.). An adult not only introduces a new game, but

and serves as a model for children to perform play actions and movements.

Being free and artistic, he infects children with his passion,

fun, creates an emotional mood. Gradually, with repeated

carrying out

sketch games,

start

fulfill

movement

on one's own.

Game-sketch “I myself!”

The teacher reads a poem to the children and suggests with movements

depict what it says. Then the teacher and child read

poem based on roles.

Let's get dressed...

Me myself! Me myself!

(The child gets dressed.)

Let's go wash up...

Me myself! Me myself!

(Washes his face.)

Well, let's go, at least I'll brush my hair.

Me myself! Me myself!

(Combing his hair.)

Well, come on, at least I’ll feed you.

Me myself! Me myself!

(Pretends to chew.)

Questions for children: Is the girl doing the right thing? Why are you like this

decided? What do you do when someone offers you help?

Game-sketch “Bathing”

The teacher brings in a toy pig, a small trough, a large

basin, washcloth, baby bucket, ladle. Reads a poem and suggests

portray

emotional

state

heroes. The teacher and children dramatize the poem together using

facial expressions and gestures.

Educator:

The pig is squealing...

Piglet

revealed

half-open, waving his arms sharply.)

Educator:

They bathe him in a trough.

He doesn’t mind washing himself in a puddle,

And he is afraid of soapy water.

And Olya is being bathed in the kitchen.

They heated up plenty of water for her.

But Olya screams...

Don't rub me with a washcloth!

I won't wash my hair!

I won't sit in the bath!

(Forehead wrinkled, lower lip protruded, head lowered, angry look.)

Educator:

Here they are both washed,

Pouty, slightly angry,

The stains have been washed off the knees,

It was nice to swim...

Why were you screaming, Olya?

Educator:

And Olenka answered...

Toshka the pig screamed,

And I helped a little!

Questions for children: Why did Olya scream? Did she do the right thing? A

how was it supposed to be? Who will show what should have been done?

Game-sketch “Delicious porridge”

The teacher brings in the caps of geese, chickens, tits, dogs and cats.

Reads the poem “Delicious porridge” by Z. Alexandrova. Then the teacher and

the children stage it together.

Educator:

Like from buckwheat

Where was it cooked? In the oven.

Boiled, reproached,

So that Olenka eats,

She praised porridge

I divided it among everyone.

(Kind smile, affectionate look.)

Got it by the spoonful

Geese on the path,

Chickens in a basket,

To the tits in the window.

A spoonful was enough

Dog and cat.

(With leisurely movements he distributes porridge from an imaginary cast iron pot

geese, chickens, tits, dog and cat, eats herself.)

Educator:

And Olya finished eating

Last crumbs!

Game-sketch “Mitya and the Shirt”

The teacher brings in Mitya-Zamarashka's shirt. Shows it to the children.

Children, whose shirt do you think this is? How can you call this

boy?

Listen

poem by E. Moshkovskaya “Mitya and the Shirt”.

Educator

poem.

offers

stage it.

Educator:

This is Mitya's shirt.

Here, shirt, yogurt!

Educator:

She ate butter

Ate porridge made from millet

And lamb gravy...

Expressive movements: the child examines his dirty hands,

wipes them on his clothes.

Are you full, my shirt?

Questions for children: How should you eat at the table? Who will show Mitya how to do it?

Game-sketch “Boy Petya”

The teacher reads:

The boy Petya got up late -

It's hard to wake up.

He did not wash himself -

He's a mess.

express

attitude

behavior

He asks: “Are there such dirty people among you?” Children speak out; With

using movements and facial expressions they portray Petya.

Expressive movements: capricious grimace on the face, lowered eyebrows

and shifted, head tilted down, examining his hands.

Game-sketch “Ears”

Educator

poem

Moshkovskaya “Ears” and proposes to depict the emotional state of children

and through facial expressions, gestures and intonation. Teacher and children together

dramatize a poem.

1st child:

Doctor, doctor,

What should we do:

Or not wash?

2nd child:

If you wash

How should we be:

Wash frequently

Or less often?

Educator:

The doctor answers...

Educator:

The doctor answers...

Educator:

The doctor answers angrily:

DAILY!

Expressive movements of children: an attentive gaze is directed at

doctors, they look at the doctor with interest.

Expressive

movement

doctors: frowning

angry

Game-sketch “Come and look”

Educator

toy

poem

"Come,

look"

E. Blaginina.

Offers

determine the character of a literary character and depict him using

facial expressions, gestures, movements and intonation.

Educator:

I took the broom

And I swept the yard.

The broom poked its nose everywhere,

But I didn’t lag behind either -

From barn to porch

She danced endlessly.

Come and take a look

At least find a speck.

Expressive

movements: confident

facial expression, smile, expressive intonation.

Game-sketch “Tanya the Mistress”

The teacher brings in a soft toy bunny, an apron, a scarf for

Tanya housewives,

poem

"Tanya the Mistress"

N. Glazkova and suggests determining what Tanechka feels at the beginning and in

the end of the poem. When children name the emotions they feel

teacher

offers

portray

mood

using facial expressions, gestures, movements, expressive intonation.

Educator:

Today Tanechka is the mistress

And he works all day long.

I put the bunny in the corner

And she said...

Sleep, oblique!

Educator:

He pulls a rag from the chest of drawers,

A basin is dragged from the pantry.

Dipping a rag into water,

I accidentally wet myself.

Don't laugh, stupid bunny!

Wait for your lunch...

Oh, it's hard to be a housewife

If mom is not at home!

Expressive movements:

1 – concentrated look, confident movements, affectionate speech

intonation.

2 – angry look, sharp gestures, dissatisfied intonation.

Game-sketch “Like our Irka”

The teacher reads the poem “Like our Irka” by E. Blaginina

offers

define

characters

express

attitude

actions

characters

poems

depict

using facial expressions and gestures.

Educator:

Like our Irka

There's a hole in my stockings!

There's a hole in your stockings?

1st child:

Because I don't want to

Darn our Irka.

(Sloppy look: buttons undone, hair disheveled, stockings in

holes, sandals are not fastened. Confused facial expression).

Educator:

Like our Natka

Darning on the heel!

Darning on the heel?

2nd child:

Because I don't want to

To be a slob Natke.

neat,

carefully

combed;

smile, confident look).

Rest

sketch games

literary

material

are being organized

in a similar manner.

Necessary

emphasize

peculiarity

development

modern

preschooler is such that he strives to combine several that attract him

types of activities. This suggests the growing role

joint

activities

integrated

character,

combines various types of children's activities and specific

activities, and a variety of topics that are presented in the experience