Development of children's speech through theatrical activities

Possibilities of theatrical activities for speech development

It is easy to imagine a theatrical performance and guess what its significance is in the development of the speech of the participants. The actors expressively and emotionally deliver monologues, conduct meaningful dialogues, demonstrate a rich vocabulary, are full of synonyms and epithets... Of course, this beautiful sound is preceded by numerous rehearsals.

But, if adults can polish their speech with the help of theatrical activities, then why not use elements of theatrical performance to develop the speech skills of children who are only at the first stages of speech development?

In fact, specialists and educators have long adopted elements of theatrical activities to develop the speech of preschoolers and primary schoolchildren.

Children's speech skills develop in theatrical play, in recitation, and when voicing dolls in small productions, which are quite accessible at preschool age.

By including the child in playing small scenes, or inviting him to play the role of a fairy-tale hero, adults create conditions for the development of the most important speech skills:

Development of speech and social play skills of children through theatrical activities

Bibliographic description:

Eremenko, S. V. Development of speech and social-play skills of children through theatrical activities / S. V. Eremenko, T. I. Leonova. — Text: direct // Innovative pedagogical technologies: materials of the IV International. scientific conf. (Kazan, May 2016). — Kazan: Buk, 2021. — pp. 103-110. — URL: https://moluch.ru/conf/ped/archive/190/10514/ (access date: 12/29/2021).

Mastering speech is one of the most important acquisitions of a child in preschool childhood. It is preschool childhood that is sensitive to speech acquisition. Timely mastery of correct speech and its active use is one of the main conditions for the normal psychophysical development of a child and the formation of a full-fledged personality. The better a child’s speech is developed in the preschool years, the higher the guarantee of his successful schooling. Therefore, the problem of speech development is one of the most important problems in raising preschool children.

Speech is gradually disappearing from the lives of modern children. Children spend a lot of time in front of the TV and computer. Adults brush off children's questions, rarely listen without interrupting, and do not always use the correct language when communicating with a child. Books, even if they are read, are not discussed. But a child desperately needs communication. Poor speech leads to aggression, since the child cannot always express in words what he wants to say. Hence the problem of vocabulary, the problem of pronunciation, the problem of expressiveness of speech.

Theatrical activities are one of the most effective ways to influence children, in which the principle of learning is most fully and clearly demonstrated: learn by playing. The wide-ranging influence of theatrical games on a child’s personality allows the teacher to use them as a strong, but not intrusive, pedagogical tool that allows solving many pressing pedagogical and psychological problems. Being the most common type of children's creativity, theatrical play not only introduces children to the world of beauty, but also develops the sphere of feelings, teaches children to think creatively, emotionally liberates, relieves tension, develops and activates speech.

It is known that the leading activity of a preschool child is play. When properly organized, the game creates conditions for the development of the child’s physical, intellectual and personal qualities, the formation of prerequisites for educational activities and ensuring the social success of the preschooler. Three interconnected lines of development of children: feel - learn - create harmoniously fit into the child’s natural environment - a game, which for him is both entertainment and a way of understanding the world of people, objects, nature, as well as the sphere of application of his imagination.

Having analyzed issues related to the organization and methodology of theatrical activities, widely represented in the works of domestic teachers, scientists, methodologists (N. Karpinskaya, A. Nikolaicheva, L. Furmina, L. Voroshnina, R. Sigutkina, I. Reutskaya, L. Bochkareva, I. Medvedeva, T. Shishova, A. P. Ershova, V. M. Bukatov, etc.), opted for the socio-game methodology (author A. P. Ershova and V. M. Bukatov), which involves qualitative a new level of relationships between a child and an adult, and between children.

To solve the above problems, I use M. D. Makhaneva’s program “Theater classes in kindergarten,” which is closely intertwined with L. V. Wenger’s main program “Development,” which promotes the development of not only speech, but the intellectual and creative abilities of children.

The pedagogical feasibility of using theatrical games in the teaching and upbringing of children is explained by the fact that this makes it possible to actually increase the level of speech development in general, by including the child in creative activities.

Adaptation and implementation of pedagogical technology of “theater pedagogy” based on socio-game methodology (author A. P. Ershova and V. M. Bukatov). The basic principles of the technology used are “Learning by playing and doing.”

Each lesson is aimed at finding and using means of implementing a plan. For example, the “transformation” technique gives a child the opportunity to transform himself, other children, or any object into anyone or anything. These exercises help you better understand the essence of things, teach you how to control your body and develop your imagination. Sketches for interaction with a friend, with a group, with an object or an imaginary object, with oneself, with the surrounding space develop the ability not only to defend one’s opinion, but also to give in to others for the sake of a common cause, to find like-minded people, and to bring the joy of human unity.

Leading pedagogical idea

Theater is one of the most democratic and accessible forms of art for children; it allows solving many pressing problems of modern pedagogy and psychology, helps to reveal the spiritual and creative potential of the child and contributes to his adaptation in the social environment.

Theatrical games comprehensively develop the child:

– forming knowledge about the world around us;

– activating and expanding children’s vocabulary, improving their sound pronunciation, grammatical structure and skills of coherent speech, its pace and expressiveness;

– developing mental processes in children (attention, memory, perception, thinking, imagination);

– nurturing children’s interest in theatrical and play activities;

– improving children’s motor skills, coordination, smoothness, switchability and purposefulness of movements;

– developing the emotional-volitional sphere of the child.

The main pedagogical idea is the development of the verbal and non-verbal aspects of children’s speech, achieving its expressiveness, using theatrical games. - “Teach by playing and doing.”

Experience technology

It is impossible to develop a child’s speech without including it in some activity!

The current stage of development of the preschool education system is characterized by the search and development of new technologies for teaching and raising children. In this case, the activity-based approach to the child’s personality is used as a priority. One of the types of children's activities widely used in the process of raising and comprehensive development of children is theatrical activity.

Having analyzed the socio-game methodology (author A.P. Ershova and V.M. Bukatov), I adapted it and use it in my work with children. The basic principles of the technology used are “Learning by playing and doing.” Therefore, to increase the level of children’s speech development, I decided to involve them in theatrical activities through games. These games have a strong impact on preschool children, promoting their comprehensive development, attracting children with the dynamics of action, the brightness of artistic images, animated dolls and the short duration of the action. Theatrical games are part of educational work, not only because they exercise individual mental processes, but also because these processes rise to a higher level of development. By participating in theatrical games, the child gets acquainted with the world around him through images, colors, and sounds. Theatrical and play activities enrich children with new impressions, knowledge, skills, develop interest in literature, activate vocabulary, colloquial speech, promote the moral and aesthetic education of each child, and skillfully posed questions encourage them to think, analyze, draw conclusions and generalizations. I introduced theatrical games as an integral part of classes not only on speech development, but also successfully used them in classes on fiction, the cognitive cycle, etc. The forms of conducting classes are different: these are plays, fairy tales, travel, etc. When organizing classes, I think through the plot , characters, paraphernalia. Theatricalization of classes is attractive because it brings a festive atmosphere and high spirits into children’s everyday life, allows children to take initiative, and helps them develop a sense of mutual assistance and collective skills. The structure of the lessons depends on the purpose of the lesson: introduction to the topic, creation of an emotional mood; theatrical games, exercises, sketches for the development of vocabulary, sound culture of speech, mastering coherent speech on the topic of the lesson, at the end of classes there are always emotionally entertaining theatrical games that ensure the success of any activity.

The process of speech development involves mastering not only the content, but also the figurative, emotional side of the language. Psychologist and philosopher S. L. Rubenstein wrote in his work “On the Psychology of Speech”: “The more expressive the speech, the more it is speech, and not just language, because the more expressive the speech, the more the speaker appears in it; his face, himself.” He considered expressiveness as a qualitative characteristic of speech, which is closely related to the manifestation of a person’s individuality.

An analysis of psychological and pedagogical literature allows us to state that the concept of “speech expressiveness” is integrated in nature and includes non-verbal (facial expressions, postures, gestures) and verbal (intonation, vocabulary, syntax) means.

To develop expressive speech, it is necessary to create conditions in which the child can not only receive knowledge, but also process it and express his attitude towards it. Therefore, a developmental environment for children was thought out and created, rich in a variety of playing materials, decorations, various types of theaters, promoting the formation of theatrical play activities and speech development.

Theatrical games always delight children and are very popular among them. Children see the world around them through images, colors, and sounds. The guys laugh when the characters in the play laugh, they feel sad and upset with them, they can cry over the failures of their favorite fairy-tale hero, and they are always ready to come to his aid. So, in the first junior group in the classroom I widely used a tabletop theater of toys, pictures, and a theater on flannelgraph. I started my work by drawing up a plan. She determined the main directions of children's speech development using theatrical games.

Solved the following tasks:

– develop a sustainable interest in theatrical and gaming activities;

– enrich and activate children’s vocabulary;

– develop correct sound pronunciation;

– teach children dialogue;

– stimulate the desire to repeat expressive means to create a game image (facial expressions, gestures, movements, intonation).

In the first junior group, the themes of theatrical games are directly related to the life of a child in kindergarten and in the family: “Doll Masha is having lunch,” “Katya is going for a walk,” “Dirty girl,” “Happy holiday”; fairy-tale theme: “Turnip”, “Teremok”, “Wolf and Seven Little Goats”, etc. Fairy tales came to children with the Parsley Theater, Bibabo dolls, table theater, in which I myself played the role of a fairy-tale character. The kids had a desire to sing along, repeat, and imitate some movements to the beat of the music.

To ensure that the training was successful, I tried to provide for the following points:

– the child’s positive attitude towards learning the program material in the classroom;

– direct sensory acquaintance with objects and materials;

– children’s activity in classes, which at a younger age becomes more purposeful and selective;

– emotionality of communication between an adult and a child, increased understanding of speech and the child’s active use of his own speech.

At first, I myself played all the roles. My voice, calm and trusting, joyful or sad, took the children into a fairy tale. The character of the characters was expressed through their voice and gait.

An important condition for the successful use of theatrical games in speech classes was also the speech activity of the children themselves based on imitation of the model. It was expressed in the repetition of the same sounds, sound combinations, words.

She used the following gaming techniques: using elements of active play, surprise moments and anticipation (“Suddenly someone appears, we listened... and heard...”); imitation movements with elements of onomatopoeia (children imitate large and small wheels, mother frog and baby frog, etc.); reading works of fiction with onomatopoeia (funny songs, amusements, riddles); use of visual material (toys, pictures, puppet theater characters, etc.). For example, when dramatizing the song “Airplane,” children imitated the flight of an airplane. Spreading their arms to the sides and swaying them like the wings of an airplane, they sang along with me: “Uh-uh-uh, I’m flying to Moscow.” Or, playing the game “The Bunnies Came Out to the Meadow,” the children imitated the movements of the bunnies: the bunnies jump, the bunnies dig a root with their paw.

If in the first lessons the children only listened and carried out actions and tasks, then in the fourth lesson the children turned from passive listeners into active participants in the conversation. Their speech became noticeably more active, the children began to actively engage in verbal interaction not only with me, but also with their peers.

One of the most important features of these classes is the inclusion of all children, even those with low speech abilities. The children enjoyed the classes and actively participated in them. Practice has shown that one of the effective methodological techniques is collective tasks like: “Guys, now we are in the forest and we are all bears - looking for honey!” or “We are cunning little foxes.” Instantly the group was filled with animated fairy tale characters. There were no passive ones - all the children portrayed an evil wolf, a brave rooster, a cunning fox, etc. I empathized with the children, repeated the movements and voices of the fairy tale characters, and the children, in turn, imitated me, reinforced sounds, memorized certain words, learned to answer questions. And the costumes, hats, masks, and attributes for the fairy tale brought to the group made the game more emotional and sincere.

The use of theatrical games in the classroom as the main form of development of speech skills in children of primary preschool age has proven the effectiveness of the methodological techniques used. Therefore, I continued this work in the 2nd junior group. Continuing to introduce children to various types of theater (finger theater, tabletop puppet theater, knitted theater, soft toy theater), I solved the following problems:

– teach to understand the emotional state of the hero and portray him;

– develop children’s speech, achieving correct and clear pronunciation of words;

– encourage children’s participation in theatrical activities;

– teach driving skills to tabletop dolls

To successfully solve these problems, I created a theater zone in the group, which includes different types of theater. They give the child the freedom to choose his favorite activity. It was from the second junior group that she began to teach the simplest techniques for controlling tabletop theater puppets. I suggested that they come up with short stories that happen with toys, so that the child could compose dialogues himself and find expressive intonations. At the same time, assistance was provided only with leading questions, so as not to provide a ready-made role model. Here, of course, the role of the adult is also important, since the speech of children of the second youngest group is not yet very developed, and attention is scattered. And no matter how primitive the stories written by the kids were, I rejoiced, along with them, at any manifestation of creativity, I strived for every child to have the desire to play with a doll. After all, acting out written fairy tales spiritually liberates the child and gives him the opportunity to believe in himself.

She continued to work on the development of children's speech. So, while showing the children the fairy tale “The Ryaba Hen,” I asked the children with me to calm down the grandfather and grandmother, repeating the words: “Don’t cry, grandpa, don’t cry, grandma,” or, acting out the fairy tale “Turnip” with the children, they all said together: “They pull, they pull.” “They can’t pull it out.”

During classes, I tried to create an atmosphere of goodwill, mutual trust, and respect for each other. A child can only create when he feels the friendly attitude of his peers and adults.

The next stage is working on sketches that develop the child and give him the necessary skills to participate in a puppet show. Only by awakening the children’s imagination and creating an atmosphere of creative cooperation can we begin to stage the play. Participation in it is always a holiday for the child.

Children of the second youngest group played out well-known Russian folk tales with tabletop dolls: “Ryaba the Hen”, “Masha and the Bear”, “Bull - Tar Barrel”, “Zayushkina’s Hut”. I tried not to memorize the text with the children, I invited them to come up with dialogues themselves.

When teaching children the means of verbal expressiveness, I used familiar and favorite fairy tales and poems, which allowed children to use a variety of expressive means in combination (speech, chanting, facial expressions, gestures). For example, in the dramatization of S. Marshak’s poem “Gloves”, children not only pronounce the words, but also convey the mood - joy, sadness. Thus, I tried to activate the child’s vocabulary, improve the sound culture of speech, its intonation structure.

Thus, by the end of the year, almost all the children of the second youngest group mastered the technique of controlling tabletop dolls, were able to concentrate attention on the doll until the end of the performance, learned to listen carefully to their partner, give their cues on time, tried to compose short fairy tales in which they accompanied the movement of the doll with a song invented independently on a given text, speech improved.

The fifth year of life is especially significant in the development of children’s speech. This is the period when the ability for playful and verbal interaction with peers is clearly manifested. Therefore, in the middle group I continue to use theatrical games in the classroom as the main means of speech development. But I used a new method of theater pedagogy as the basis for my approach to building classes. This is a socio-game technique (author A.P. Ershova and V.M. Bukatov), which assumes a qualitatively new level of relationships between a child and an adult, and between children. Each lesson is aimed at finding and using means of implementing a plan. For example, the transformation technique gives a child the opportunity to “transform” himself, other children, or any object into anyone or anything. These exercises help you better understand the essence of things, teach you how to control your body and develop your imagination. Sketches for interaction with a friend, with a group, with an object or an imaginary object, with oneself, with the surrounding space. They develop the ability not only to defend their opinion, but also to yield to others for the sake of a common cause, to find like-minded people, and to bring the joy of human unity.

Using non-traditional forms, methods and means for child development in the classroom, I include theatrical play in all forms of organizing the pedagogical process. Theatrical games are an integral part of the educational cycle: they are widely used when reading fiction, in classes on design, mathematics, literacy, and spatial orientation. They develop children's imagination and fantasy, expand their vocabulary, teach them to conduct a dialogue with a partner, write sentences and short stories.

The theater zone of the subject-developmental environment of the middle group was replenished with a new type of dolls on the gapit, a screen.

When organizing a lesson with the help of a doll, I create playful motivation for children’s productive activities, and on behalf of the doll I give an adequate assessment of the product of the child’s activity without the risk of causing his offense or resistance. I often conduct classes as a puppet show, when the characters speak for themselves. With the help of a doll (toy), I correct real situations where violations of moral standards occurred, showing “from the outside” the consequences and experiences of the participants. The doll helps to establish contact with the child, especially the enslaved and emotionally repressed. From work experience, I have found that a small doll causes less fear and apprehension; a child makes contact with it faster than with an adult. Therefore, I consider the doll to be an assistant in solving many pedagogical problems. I don't need any special equipment to run most games. The most important thing is the desire to play and a little imagination, and then everything that surrounds us - furniture, dishes, pebbles, and leaves - can turn into any fairy-tale elements.

If play for a child is a way of existence, a way of knowing and mastering the world around him, then theatrical play is a step towards art, the beginning of artistic activity. After all, theatrical games are designed for the active participation of the child, who is not just a passive executor of the teacher’s instructions, but an accomplice in the pedagogical process.

I present new knowledge in the form of problematic situations that require joint active searches from the children and, of course, from me. I conduct classes in an entertaining, interesting way for children, based on a plot structure.

At this age, there is a deepening of interest in theatrical games, its differentiation, which consists in the preference for a certain type of game (dramatization or director's), and the formation of motivation for interest in the game as a means of self-expression. Children learn to combine movement and text in roles, develop a sense of partnership, and use pantomime of two to four characters.

I complicate the methods and techniques used in the younger group: telling a story in the first person, accompanying the text and movements: “I am a cockerel. Look what a bright comb I have, what a beard I have, how important I walk, how loudly I sing: koo-ka-re-ku!”

And if in the 2nd junior group I taught to act out fairy tales using a table theater, taught children to play with theatrical dolls, showed expressive movements to create the image of characters participating in a dialogue, taught them to portray them using facial expressions, gestures, movements, then in the middle group, children try to act out fairy tales on their own. Expansion of children's gaming experience occurs through the development of theatrical play. At the age of 5 years, children master different types of table theater: soft toys, knitted theater, cone theater, folk toy theater and flat figures. Actions with dolls on the gapite become new content. Children have access to a horse puppet theater (without a screen, and by the end of the school year - with a screen), a spoon theater, etc.

In the middle group I worked on complicating the theatrical and play skills of preschoolers:

– The first group of skills ensures the further development of the “spectator” position (i.e., being an attentive and friendly spectator). Elements of spectator culture appear: do not leave your seat during the performance; respond adequately to what is happening “on stage”; respond to the appeal of “artists; thank them with applause. Evaluate the performance of fellow artists positively.

– The second group of skills is related to improving the “artist” position. This mainly means the ability to use non-verbal means (facial expressions, gestures, postures, movements) and intonation expressiveness to convey the image of the hero, his emotions, their development and change, to convey the physical characteristics of the character, some of his character traits. The ability to “control” a doll also develops: holding it unnoticed by the audience, correctly “leading” a doll or hero figurine in a director’s theatrical play. They imitate walking, running, jumping, gestures and movements symbolizing greetings and farewells, agreement and disagreement.

– The third group of skills ensures the initial development of the “director” position in a director’s theatrical play, i.e., the ability to create a playing space on the plane of the table, fill it with toys and figures at one’s discretion.

– The fourth group allows the child to master the basic skills of a performance designer, determine the place for the game, select attributes, variably use materials and costume elements, and be involved in the process of the teacher making the missing attributes for the game.

– The fifth group, aimed at positive interaction with other participants in the game, includes the ability to negotiate, establish role relationships, and master basic methods of resolving conflict situations during the game.

In the process of theatrical activities with children, I try to pay attention to developing interest in the creativity of improvisation in the process of inventing the content of the game and embodying the intended image using various means of expression. I bring children to the idea that the same character, the same situation, can be shown in different ways. In theatrical games, I encourage the desire to come up with your own ways of realizing your plans, to act depending on your understanding of the content of the text.

Thus, in fiction classes, children enjoy participating in the dramatization of such fairy tales as “Kolobok”, “Teremok”, “Turnip” and others. They act out fairy tales with theatrical dolls. This allows them to better understand the content of their favorite work and gives them the opportunity to show creativity. I also suggest composing short fairy tales and songs. Most children complete the task quite easily. I gradually introduce noise instruments (tambourine, drum, rattles, bells), which give the child’s song a new sound, create a festive atmosphere, and develop a sense of rhythm.

During the lesson, I include theatrical play as a gaming technique and a form of teaching for children. The playful form of the lesson helps to emancipate the child and create an atmosphere of freedom. So, in literacy classes, with the help of theatrical games, I teach children the correct pronunciation of sounds. For example, when pronouncing the sound “zh,” I used the theatrical game “The Bear and the Bees.” Using a counting rhyme, we choose a bear: “One, two, three - you will be the bear!” The rest of the children are bees - they pick out masks and hats for themselves.

I'm reading: The bees have flown to collect honey from the flowers

The bear is coming and will take away the honey from the bees.

Bees, go home!

Bees: This hive is our house, get away from us, bear!

Z-Z-Z-Z-Z-Z-Z-Z-Z-Z Bees fly and buzz. The bear walks through the “clearing” and approaches the hive. The bees flap their wings, driving away the bear. I play the game several times. Answering the question: Which other insect buzzes? — we act out the poem “Beetle”

On the lawn, on the chamomile

The beetle was flying wearing a colored shirt.

Beetle: zhu-zhu-zhu, zhu-zhu-zhu

I'm friends with daisies

I sway quietly in the wind

I bend low and low.

When pronouncing the beetle’s words, I pay attention to the expressiveness of intonation. I offer finger games:

The beetle flies, buzzes, buzzes

And he moves his mustache.

Fingers in a fist, index and little fingers spread to the side. Children pronounce words and move their “mustaches.”

When establishing the correct pronunciation of sounds such as: y, x, r, w, s, I used the verbal teaching method in combination with elements of expressive means. For example, how does a blizzard curl? o-oo-oo-oo-oo (children pronounce with different voice strengths). How does a janitor sweep away snow from a doorstep? sh-sh-sh-sh-sh (children take brooms and sweep away the snow from the paths).

In the process of working on the expressiveness of characters’ remarks and their own statements, the child’s vocabulary is imperceptibly activated, the sound culture of speech and its intonation structure are improved. The role played, especially entering into a dialogue with another character, confronts the child with the need to express himself clearly, clearly and understandably. Children's dialogical speech and its grammatical structure improve. Working on the expressiveness of speech, children developed involuntary emotionality. Continuing to work on the expressiveness of speech in children of the middle group, she developed intonation speech emotionality. In senior preschool age I will work on linguistic expressiveness of speech.

To develop the expressive side of speech, I try to create conditions in which every child could express his emotions, feelings, desires and views, not only in ordinary conversation, but also publicly, without being embarrassed by the presence of outside listeners. Because it often happens that people with rich spiritual content and expressive speech turn out to be withdrawn, shy, avoid public speaking, and get lost in the presence of unfamiliar faces. Theatrical games such as “Children's Transformation”, “Tasty Words”, “Magic Basket”, “Ants” (development of plastic expressiveness), etc. are of great help in this.

So, I can say with confidence that the use of theatrical games in the classroom increases the effectiveness of the pedagogical process. They also contribute to the development of speech, memory, thinking, and have a huge impact on the mental development of the child. Conducting classes with elements of theater pedagogy helps each child demonstrate their skills, creative tendencies, and learn the material faster and better.

Using theatrical games in classes in the 2nd junior group and in the middle group, I felt noticeable changes not only in communication with each other, but also in the development of speech.

Theatrical games are an interesting, understandable and accessible activity for children. Therefore, even the most timid, insecure children began to take part in them.

Analyzing my work, I can say that theatrical and play activities enriched children with new impressions, knowledge, developed an interest in literature, and also activated their vocabulary, improved coherent speech, the sound side of speech and its expressiveness. And most importantly, thanks to theatrical games, children became more liberated.

The work carried out confirmed the feasibility of using theatrical games for speech development:

Children have mastered nonverbal means of communication (gestures, facial expressions, movements);

Speech became coherent, expressive, and the vocabulary expanded;

Children learned to express their feelings and understand the feelings of others;

Children became more self-confident, learned to overcome shyness, and empathize;

Children have an interest in theater

Since the use of theatrical games in the classroom gave the desired result, I will continue to use theatrical games to develop children’s speech in the future.

Efficiency

The most difficult part of being a teacher is assessing the quality of your work. It's gratifying to see that the children in my group love theatrical games. They enthusiastically improvise on the theme of familiar fairy tales, but it is even more interesting when dramatization games are shown. Theatrical games help a child overcome shyness and self-doubt. Diagnostics at the beginning of the school year helps to identify such children and work with them individually. I try to create relationships of kindness and cordiality with such children; I pay more attention to such children, and the result is not long in coming. Theatrical games become their favorite, and for me, as a teacher, it becomes much easier to carry out correctional work. In this situation, theater dolls come to the child’s aid. After all, it is easier for a timid child to express his emotions on behalf of a doll than to say something on his own behalf.

Theatrical games help not only timid, insecure children, but also children with speech pathology. With the help of specially selected theatrical games, children can easily intonationally highlight the first sound in a word, identify “big brother” or “little brother,” and select a word based on the sound I suggested. Using theatrical games in joint activities for several years, I felt noticeable changes not only in communication with each other, but also in the development of speech. The diagnostics carried out in the 2nd junior and middle groups confirmed the effectiveness of the influence of theatrical games on speech development.

Based on the diagnostic results, the following conclusions can be drawn: there is a decrease in the number of children with a low level and an increase in the number of children with a high level of speech development (vocabulary, sound culture of speech, coherent speech, expressiveness of speech). In addition, additional results were obtained:

– increased activity, both in creative and speech activities; — improving the psychological climate in a group of children;

– reducing the number of aggressive children;

– manifestation of mutual assistance and mutual assistance;

– liberation of children, relieving tension.

Purposeful work to identify the effectiveness of the influence of theatrical games on speech development provided not only intensive speech communication (enriched vocabulary, sound culture of speech, coherent speech, expressiveness of speech), but also brought variety to the life of each child, increased their self-esteem, and showed children’s activity. And the positive emotional mood that I try to create contributes to the quick and easy assimilation of knowledge by children and transferring it into free independent activity. I will continue the work I have begun on using theatrical games to develop children’s speech in older groups. Now I am starting to develop thematic weeks that will give children the opportunity to deeply understand and feel what the teacher wants to convey to them, as I use the method of immersion in the topic. Thematic weeks help me not to limit the possibilities of planning different types of activities, development tasks, training and education of children, but are a framework that allows me to combine all types of children's activities and makes them as useful as possible for children.

So, specially organized theatrical games make it possible to develop the speech of preschool children, which is one of the main problems in raising preschool children.

Literature:

Alekseeva M. M., Yashina V. A. Methods of developing children’s speech and teaching the native language to preschoolers. M., Academy, 2000.
Makhaneva M.D. Theatrical classes in kindergarten. /Manual for employees of preschool institutions/ M., 2003.
Petrova T.I., Sergeeva E.L., Petrova E.S. Preparation and conduct of theatrical games in kindergarten. M., 2003.
Karamanenko T. N., Karamanenko Yu. G. Puppet theater for preschoolers. M., 1982.
Folklore - music - theater. /Ed. S. I. Merzlyakova./ M., 1999.
Sorokina N. F. Playing puppet theater. publishing house "Arki". M. 2004.
Borodich A. M. Methods of speech development for preschool children. −2nd ed. M., 1984.
Artemova L.V. Theatrical games for preschoolers: Book. For kindergarten teacher M., KNORUS", 2003.
Fomicheva M. f. “Educating Children Correct Pronunciation”: a manual for kindergarten teachers - M. “Press”, 2004.
Management D.V. Game dramatization. In: Raising children through play. M.: A.P.O., 1994
Shchetkin A.V. Theatrical activities in kindergarten. - M.: Mosaic - Synthesis, 2008.
Arushanov A. O. Organization of dialogical communication between preschoolers and peers, // Preschool education, 2001. No. 5.
Lisina M. I. Development of communication in preschoolers / Ed. A. V. Zaporozhets, M. I. Lisina. M.: “Pedagogy”, 1974.
Article by O. V. Akulova “Theatrical games for children” // Preschool education, 2006. No. 4
Ushakova O. S. Speech development of a preschooler. M.: Publishing house of the Institute of Psychotherapy, 2001.
V. M. Bukatov, E. E. Shuleshko, A. P. Ershova, Return to talent. - Krasnoyarsk, AKME, 1999.

Key terms
(automatically generated)
: child, game, activity, junior group, speech development, theatrical activity, theatrical game, sound culture of speech, coherent speech, theatrical play activity.

Forms of theatrical activity in children's speech practice

Parents are often wary of recommendations to use the possibilities of theatrical activities in the development of their child. First of all, adults are put off by the preparatory stage: creating the right atmosphere, preparing the necessary attributes. But to use theatrical methods it is not necessary to create a full-fledged home theater.

You can use both staging story scenes with appropriate props, or puppet theater, and simplified methods, which come down to expressive retelling and addition of well-known fairy tales and stories. A fairy tale is a truly effective teacher in a child’s life and can be actively used for speech development.

Telling tales with addition

The same favorite fairy tales and children's stories can simply be read to a child, but much more opportunities for development will open up if the child joins the story. Participation in storytelling (reading) of works for children can be considered the simplest type of theatrical activity.

An adult, as a rule, reads to a child with appropriate expressiveness, emphasizing characteristic roles with his voice and intonation. Listening to a story, a preschooler, thanks to visual imaginative thinking, builds a figurative series of plot. Adults sometimes don’t even realize how many interesting twists their young listeners can add to the storyline.

Moreover, the child strives to complement, imitating the style of the story. A literary text demonstrates to the child the grammatical structure of speech, develops sound culture, helps to feel the beauty of sound and the richness of language. And the preschooler tries to match so that his improvised inserts sound like that.

Sometimes the initiative to get involved in the plot comes from the child himself. But you shouldn’t wait for spontaneous activity. Adults can encourage the preschooler with appropriate questions. For example:

What could our hero do?
Why did the main character do such an act?
Who else could come to the rescue?

In older preschool age, you can practice group writing of your own collective fairy tales. Each child will have to come up with a small part (2-3 sentences). This makes the task feasible even for those preschoolers who experience speech difficulties.

Children get the opportunity to hear how others formulate statements and reveal the plot, how intonation they try to emphasize the nature of the role or the tension of events. This serves as a powerful example for each participant and also develops auditory awareness.

Participation in a theatrical performance of the plot

Theater productions require at least a minimal costume. And in preschool age, any attribute helps to get into the role. Notice how much better a child will portray a bunny if he wears a hat with bunny ears and a tail...

Playing a role imposes important obligations on the child. He should not say what he wants, but what is provided for in the plot in advance or what corresponds to the unfolding of actions, if improvisation takes place.

In such conditions, speaking is both more difficult and easier at the same time. It’s more difficult because you need to formulate phrases that reflect the content and select the appropriate words. If this is a monologue, then it must be coherent so that others understand the meaning of the message. It’s easier because there is a ready-made text that has been told and retold many times. This means that many phrases are reproduced automatically by the baby.

Thanks to learning and performing the role, the little artist’s vocabulary is enriched and the expressiveness of speech develops. The child strives to convey the intonation that matches his character and tries to make semantic accents.

MAGAZINE Preschooler.RF

“Development of speech of preschool children through theatrical activities”

Relevance:

The problem of forming coherent speech in preschool children is relevant today. Formation of speech in preschoolers is an important and difficult task. The successful solution of this problem is necessary both for preparing children for the upcoming school education, and for comfortable communication with others. Clear, correct speech is the key to productive communication, confidence, and success in life. Theatrical activities are a huge incentive for the development and improvement of speech.

Tasks:

Teach children to express their thoughts coherently and consistently.
Improve dialogic and monologue forms of speech.
Develop the ability to feel free in a role.
Develop expressive, intonation side of speech
Develop emotions that arise during game, role-playing and plot actions.
To improve children's artistic and speech performing skills in various types of theatrical activities.
Develop a culture of verbal communication and the ability to act in a coordinated manner in a team. Involve children in various theatrical performances.

Creating a theatrical corner

Different types of theaters
Props for performing skits and performances
Attributes for various playing positions
Screens for displaying puppet theater
Mini costume room
Abstracts of GCD on theatrical activities
Card index of theatrical games and exercises

Parents and the pupils themselves took an active part in the production of various types of theater and enriching the variety of theatrical games; they learned to work in a team.

Methods and techniques:

Reading works of fiction, fairy tales, poems
Conversations with children
Playing out sketches and theatrical games; staging, dramatization
Looking at illustrations
Modeling
Puppet shows
Exercises to develop expressiveness of performance (verbal and non-verbal) speech
Theater and gaming technologies.

Basic requirements for organizing theatrical games:

Motivation to include children in theatrical activities, activity at all stages of preparation;
Accessibility, content and variety of theatrical games;
Using familiar literary material in dramatization games
Partnership interaction between adults and children;
Creation of a subject-developmental environment in the group in accordance with the age of the students;
Consistency, complication of themes and plots in accordance with acquired skills;
Providing individual support for children as they develop the skills of playing with a doll and role-playing images.

Conclusions:

Theatrical art is close and understandable to children, because the basis is play. By participating in theatrical games, children get acquainted with the world around them and learn to understand it.
Through theatrical games, we develop children's speech skills and ensure emotional well-being.
Children's vocabulary in everyday life is significantly activated, speech becomes more vivid and emotional.

Next >

In modern preschool education, speech is considered as one of the basic principles of education and upbringing, because successful learning at school, the ability to communicate and general intellectual development depend on the degree of mastery of coherent speech. Unfortunately, today in most cases the degree of speech development of preschool children is below the norm.

Theatrical activities bring variety to the life of a child in kindergarten, gives him joy and is considered one of the most effective methods of influence, which more clearly expresses the principle of learning - to learn by playing.

During theatrical activities:

— children’s knowledge about the world around them becomes wider;

— mental processes develop: memory, perception, imagination;

- mental operations are stimulated;

- active vocabulary begins to improve, the grammatical structure of speech, sound pronunciation, coherent speech skills, intonation of speech, speed, and clarity of speech improve;

— motor skills, coordination, smoothness, switchability, and purposefulness of movements improve;

— the emotional-volitional sphere develops;

— a sense of collectivism and responsibility for each other develops;

- an incentive is created for the development of creative, search activity, and independence;

- participation in theatrical activities brings children a good mood, their active interest in this process grows, and captivates them.

All sections of the program, which include speech development, are closely related to the content of theatrical games, right up to primary school age. Theatrical games for children of senior preschool age influence the activation of various aspects of speech:

-dictionary;

-grammatical structure;

-dialogical and monologue speech;

-improving the sound aspect of speech.

Active speech development is also facilitated by independent theatrical activity, which contains not only the process of a child playing with dolls or characters, or one’s own actions according to roles, but also artistic and speech activity:

- selection of topics;

-providing familiar content;

-composition;

-performed on behalf of the characters.

The formation of expressive speech is considered one of the stages of speech development in theatrical activities. The expressiveness of speech is formed throughout the entire preschool age: from involuntary emotional speech in children to intonation speech in children of the middle group and to linguistic expressiveness of speech in children of older preschool age.

By creating conditions in which a child could express his emotions, feelings, aspirations, not only in a normal conversation, but also publicly, without being embarrassed by the presence of other listeners, the development of the expressive side of speech will grow rapidly. When teaching children the means of verbal expressiveness, it is necessary to use well-known and favorite fairy tales, which concentrate a whole range of expressive means of the Russian language and give the child the opportunity to naturally become familiar with the rich linguistic culture of the Russian people. It is staged fairy tales that can teach the use of various expressive means in their combination (speech, chanting, facial expressions, pantomime, movements).

Sample activity project: (activities included):

— musical and rhythmic warm-up;

- breathing and speech gymnastics;

— literary and artistic practical activity (coherent speech);

- games, a minute of pranks, a physical minute;

- theatrical activities.

The participation of older preschool children in theatrical games has a positive effect on the enrichment of active vocabulary and the development of speech abilities.

The use of theatrical activities in order to develop the expressiveness of speech, activate vocabulary, grammatical structure, dialogic and monologue speech and improve the sound side and social-emotional development of the child becomes possible if the following conditions are met:

-integrity of social, emotional and cognitive development;

- saturating this activity with interesting and emotionally significant content for children;

- gradual and consistent familiarization with a variety of verbal and non-verbal means of expression;

-the availability of interesting and effective methods and techniques for working with children;

-joint participation of children and adults in this process.

Children strive for the mysterious world of fairy tales. Since a fairy tale not only awakens fantasies, but also helps to create, enriches life with positive emotions, and unites people.