Card index of theatrical games card index (junior group) on the topic. Card index of theatrical games in the first junior group Interesting theatrical game for 1 junior group

Children of this age group are attracted by everything unusual, unprecedented and unheard of before: large, bright toys, new costumes and their details, musical instruments, sounds of various origins that are unusual for children’s hearing (the sound of rain, wind). Using the child’s desire to explore the unknown, the teacher not only gives him guidance in the surrounding objects and sounds, helps him understand their purpose, but also introduces him to the world of artistic images using play. Game, according to AN. Leontiev, satisfies the basic needs of children in communication, cognition, self-expression and practical activity. A dramatization game is no exception from this point of view. Children meet the doll Masha, who can dance and sing, the bear cub Misha, who plays the accordion, and the hedgehog Top, who knows poetry. In response to the performance of the toy artists, the teacher invites the children to sing, dance, and recite familiar poems. In such concert dialogue communication (the doll Masha sang - Kolya sang; the bear cub played - Olya played) the first shoots of children’s activity appear and emotional responsiveness to role behavior is formed.

Endowing inanimate objects with the features of a living being contributes to the development of imagination, the manifestation of empathy, and care. Small dialogue scenes, shown to adults using a tabletop or puppet theater, develop children's imaginative ideas. There should be no more than one or two objects in the field of view of a 2-year-old child, so the dolls participating in the performance should interact for a short time, but communication with one character is preferable. Short, expressive dramatizations shape the emotions of little pupils, and the interactive form of communication between the character and the child contributes to their speech development. The inclusion of singing and dancing of the hero enriches the figurative structure of the play-fun, but at the same time it is necessary to weave them into the outline of the plot consistently.

The teacher supervising children's dramatization play must remember the following.

It is necessary to interact with children, using intonation to express certain moods and feelings, both your own and the character’s.

Children should be encouraged to express their feelings and impressions when perceiving dramatization or when playing a role (“Do you see the pussy? Does the pussy hurt?”, “Lena is our bunny. Is the bunny cold?”, “Here are the kittens. Kittens, do you find it funny?”).

In joint play, you need to take the initiative, but at the same time encourage children’s independent actions, intensify their role-playing behavior (“I’m a wolf-wolf, a woolen barrel, and who are you?”).

Second junior group

Children in this group begin to gradually master role-playing skills - they combine toys in director's play, and get involved in role-playing games. The very process of playing gives them pleasure and joy. By expanding the plots, the teacher focuses the children’s attention on the details of the role they are playing, helping them navigate the play space. At the same time, it is important to help the child create in his imagination the character of the character being played out, to encourage him to improvise, to have his own vision of both a specific and generalized image (“And now the children have turned into bear cubs. This is how they dance,” “Lena is our mouse, and Olya is our us little mouse. Mice, can you sing? Sing, little mouse, and then you too."

Good material for acting out at this age are works of small folklore forms: nursery rhymes, jokes, songs, short rhymes. The teacher encourages children to play out plots, offering to imitate the image shown by adults, or evoking certain associations in children to create a role based on previously received impressions.

At this age, children from older groups can be invited to play and communicate together: this will allow them to feel the need to help the younger ones, evaluate their skills in dramatization and the impression that the dramatization made on younger children. The performances of older children, in turn, will become an incentive for the development of theatrical activities of younger children, who will have a desire to perform and play a role.

To accumulate theatrical impressions for children of this group, as well as other age groups, the theater of adults plays an important role: fairy tales and dramatizations that are understandable for children and at the same time inaccessible for performance by elders. These performances become an incentive for the development of artistic qualities. By becoming spectators of theatrical productions, children become familiar with the theater as a special magical world, learn to perceive its means of expression and the range of artistic images. A visit to the theater allows you to carry out preparatory and subsequent work with students, which consists of skillfully introducing them to the upcoming viewing and subsequent communication about their impressions of the performance.

Children transfer impressions from the performances they watched to their free time.

game. They love to dress up as familiar characters, using existing costumes and their details. This should be used in preparation for a holiday or staging - children need to be involved in the elementary use of paraphernalia (costume details, items for creating a play environment, etc.), targeting its specific use (“Here’s a carrot for your hero”, “Let’s stick button for the Goat's hat").

The teacher should adhere to the following recommendations.

Give impetus to the development of children’s play plans through direct demonstration and indirect guidance techniques, remembering the activating nature of this guidance.

Achieve expressiveness in creating artistic images in your own role-playing embodiment (in puppet and drama theaters).

Encourage children's first attempts to use expressiveness in portraying a character: imitation of pose, gesture, movement, intonation, facial expressions.

Provide space for the development of creative amateur play.

Middle group

Children of this age develop a full sense of the role and opportunities associated with “living” in it (emotions, feelings, sensations). A child, entering the world of adults through play, creates his own world in it, constantly experimenting, creating, and imagining. In the game there is a simultaneous development of intellectual and emotional principles. Children's attention is aimed at the greatest possible coverage of the roles being played. This quality is manifested primarily in the director's acting, which becomes more developed than before, and is a kind of creative laboratory for honing role-playing actions. Children play different professions, play out various real and fictional, fairy-tale situations. To play out, they are increasingly using plots in which heroes commit brave acts and find bold decisions. Heroics occupy an important place in the content of games.

The teacher directs the children's desire to realize their needs in such a game, offering appropriate literary plots (stories, fairy tales, poems, musical games). In order for them to find a response in the students’ independent play, the teacher must introduce them to different professions and organize excursions, for example, to the post office. No less important is the ability of an adult to interest students in the plot itself through expressive reading of the work and acting it out, as well as acting out fragments of the plot by the children themselves in the process of familiarizing themselves with the work of art.

In dramatization games, the creative individuality of each child is revealed more fully each time. Children are increasingly focusing on the quality of the role they play. Using this, the teacher offers children roles to choose from. A creative approach to fulfilling their desires becomes possible: they “change” the roles they have already played, they are attracted to

creating elements of scenery, props, they compose a continuation of the story or change the plot.

Adult theater is of utmost importance at this age. Children get to know their teacher-artists, express their opinions about the performance as a whole, look forward to new productions, and thus gradually learn the basics of theatrical art.

When working with children of middle preschool age, a teacher must be guided by certain rules.

Select children for roles based on their own desires.

Encourage all children to act out the work of art being studied.

Keep track of what roles each child played and what his main achievements were.

When repeatedly playing out a fairy tale, short story, history, remember the need to maintain the freshness of children’s perception of the work, for which use various types of theater, setting new artistic tasks, and avoid too frequent rehearsals.

Senior group

Children of this age have great opportunities to unleash their creative potential in theatrical play. They are more independent in choosing roles, the theme of the game, initiating plans for its construction, and developing the plot. The teacher only activates the creative manifestations of the students in composing plots for their own games and productions. Children unite in play, forming a creative team that needs the skillful, focused guidance of an adult. He encourages students to come up with plot situations, repetitions, beginnings, endings, and involves them in discussing the situational behavior of the hero, drawing up his portrait characteristics, his “biography,” and the setting of the action. With this approach, children’s creative abilities develop (initiative, the ability to take a fresh look at the familiar, ingenuity in coming up with plot twists), important mental qualities that the teacher must use in creating an artistic image, the figurative structure of a fairy tale, a performance. You should use the desire of preschoolers to cooperate, solve certain issues together, and get along with each other in the game.

The playing of roles is improvisational in nature: as the dramatization progresses, situational additions, additions, and clarifications are possible (“Lena, what will your heroine, grandma, do when she finds out about the loss?”, “Can your hero make a decision on his own, without waiting for help?”).

It is necessary to include children not only in the discussion of the hero’s role behavior, but also in the description of the setting of the action (to make it easier to create the scenery), clarification of the hero’s psychological state (“What forest do you think the girl was in when her evil stepmother left her there?”) .

Working on a role will be helped by a collective discussion of the appearance of the characters, which should reflect the era, the specific situation, the character of the characters.

sonazha. Thus, the appearance of Cinderella’s sisters and the stepdaughter girl from a Russian folk tale should be brought into line with the belonging of these heroines to different classes, countries, and eras. The musical characteristics of the characters and their dance movements must also correspond to the image.

All children should be included in an active discussion, encouraging the most shy ones, taking into account their guesses and the options they propose. Purposeful pedagogical guidance of play-dramatization contributes to the fact that it is not difficult for preschoolers to unite in children's creative teams of “artists”, “designers”, “decorators”, “costumers”, “make-up artists”, “actors”, “directors” (though Compared to the next age group, these associations are unstable). Children are prone to intergroup “migration” and do not often achieve the intended result in their endeavors. The role of the educator is to support children's creative associations, not to let the desire to do something on their own fade away, to direct children's thoughts both to the process of play and to its result, to teach them to use the means of artistic expression. The teacher should welcome the desire of his charges to show the dramatization to the kids. He should not only praise the children for their good performance of the role, but also note the children’s lively reaction to the performance, which helps strengthen the desire to play, create, and perform.

In the team, according to A.P. Usova, along with the relationships played out during the dramatization, real relationships develop between children that unite the team. Common cause, i.e. preparing and conducting dramatization allows you to strengthen the sense of camaraderie and affection for each other, while simultaneously developing the individual characteristics of each child.

The teacher should follow the following recommendations.

When working on dramatization, it is necessary to use the child’s desire to be included in the common cause.

Each student is given a feasible load when assigning roles in the performance.

Celebrate the slightest positive result, the individual growth of the child, showing your attitude towards this throughout the work on the work.

The teacher must be a model of creative behavior.

Target:
Form an idea of ​​the size of “big, small traces.”
Teach children to listen to a fairy tale. Correlate your actions with the words of the story.
Develop fine motor skills with finger exercises.
Reinforce the idea of ​​color. (Red, blue, yellow)
Foster a culture of communication, teach children to say hello and thank them for gifts.
Make children want to help.

Equipment:
Demonstration material: a toy - a bun, a bear, a hare, traces of a bear and a hare, a grandfather doll, a grandmother doll, a basket with buns, multi-colored pebbles.

Progress of the lesson:
Organizational moment.
Educator:
Look guys who came to visit us!
I, bun, ruddy side,
I left my grandfather.
I left my grandmother.
Came to visit the guys
Show yourself
And tell a fairy tale!
(At this time the bun rolls on the table and spreads its arms)

The teacher says, the children perform hand movements
To hear the fairy tale better, Showing ears
We need to warm our ears,
One-two, one-two,
We'll bend our ears first, Bend ears forward
We'll save our fingers Save two fingers
We'll take the ears from below. Grasp the earlobe
Let's pull our ears down together, Ears pulled down
We need to hold them tighter.
And now a little more
We'll rub our ears with our palms! He rubs his ears with his palms.
That's it! Ears are heating up!
Your ears can hear better!

Educator Well, now you can listen to the fairy tale:
Once upon a time there lived a grandfather and a woman.
Grandfather says to grandma:
Bake it, you grandma, little bun.
And the grandmother went to bake a bun.
Shall we help grandma?
Bring some pens.

A teacher and children perform finger exercises.
The grandmother took a handful of flour, Make palms into a boat
To bake her pies.
I started pouring water into the flour, Hands clenched into fists
Shhhh the water flows, Repeat
There will be plenty of dough! Shake their heads
To make the dough fluffy, Clenching and unclenching fists
We need to knead it!
The dough has started to rise:
Puff-puff-puff! Repeat
You can make pies “make pies” - clap their hands
Let's put the pies in the oven,
To bake them for lunch. Straighten your palms

Grandma baked a kolobok and took it out of the oven
I took it out and almost burned it. Aw, so hot!
You need to blow quickly so that the bun cools down. Children blow on a kolobok.
The grandmother put the kolobok on the window to chill on the window.
The bun lay and lay on the window,
And “Jump” jumped to the ground. Repeat
And he rolled along the path, and only he was seen.

Also an interesting summary on theatrical activities:

Music is playing.
Educator: Let's go look for a bun The footprints are large
Whose tracks are these? Who was hiding behind the tree?
Children:(children's answers)
Educator: Bear! How does the bear growl? Oooh.
Children:(children's answers)
Educator: Loud-loud: ooh-ooh
No kolobok. Whose little footprints are these?
Children: Bunny! Right.
Educator: Finger game
Let's play with the bunny. Prepare your fingers.
The bunny's long ears stick out from the bushes.
He jumps and gallops, making his bunnies happy.
Educator: Ay-Ay. Oh. And this is who got lost. Yes, this is a bun.
He lost his way. And here is the path. Let's help the bun get home.
And to make it more fun for the kolobok to go,
Decorate the path with colorful pebbles.
(children decorate the path)
Educator: The bun rolled along the path home.
I met Kolobok's grandparents and was delighted!
I won’t leave you anywhere now, I will always obey you!
And grandma brought gifts for the boys.
Look, there's a basket over there.
What does it contain? There are so many koloboks!
Grandmother baked them from flour.
I brought it to all the kids.
Don't forget to tell grandma thank you.
Oh, what delicious koloboks!

Nomination: Kindergarten, Lesson notes, ECD, theatrical activities, 1st junior group
Title: Summary of a lesson on cognitive development with elements of theatrical activities for children of the first junior group “Kolobok”

Position: teacher of the first qualification category
Place of work: GKUZ YAO "Regional Specialized Children's Home No. 1" Yaroslavl
Location: Yaroslavl

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Project on theatrical activities in the junior group “Visiting a fairy tale.”

Project topic:“A fairy tale has come to visit us”;

Project type: medium duration, role-playing, creative;

Forms of work: group, frontal.

Relevance of the project:
A full-fledged education of a child of primary preschool age is possible only if the child is psychologically comfortable in the process of communicating with peers, adults in kindergarten and family.
When a child enters kindergarten, it becomes stressful. Adaptation is difficult, with a lot of negative changes in the child’s body, which is manifested in the child’s behavior.
When a child enters kindergarten, an adaptation period begins not only for him, but also for his parents.
The situation of protracted adaptation of children and parents to the conditions of preschool educational institutions does not contribute to the full development of children. Therefore, there is a need to facilitate the adaptation period. This can be done by achieving emotional comfort for children and involving parents in the educational process through joint theatrical activities with children. Therefore, it becomes especially important to create conditions for theatrical activities on the territory of the kindergarten.
One of the most effective means of developing and educating a child in early preschool age is theater and theatrical games. Play is the leading activity of preschool children, and theater is one of the most democratic and accessible forms of art, which allows solving many pressing problems of pedagogy and psychology related to artistic and moral education, the development of personal communicative qualities, the development of imagination, fantasy, initiative and etc.
Theatrical activity is a source of development of feelings, deep experiences of the child, and introduces him to spiritual values. They develop the child’s emotional sphere, make him sympathize with the characters, and also allow him to develop the experience of social behavior skills due to the fact that every literary work or fairy tale for preschool children always has a moral orientation.
In the process of theatrical play, the child’s vocabulary is activated, the sound culture of his speech and its intonation structure are improved, which is very important at this age. The role played and the spoken lines confront the child with the need to express himself clearly, distinctly, and intelligibly. His dialogic speech and its grammatical structure improve.

Project goal: create conditions for the favorable adaptation of children in preschool educational institutions and the implementation of the tasks of the main general education program of preschool education through theatrical activities.

Project objectives:
1. Create conditions for the psychological adaptation of children and their parents to the conditions of a preschool educational institution;
2. Introduce fairy tales through various types of theater;
3. Expand interaction with parents of students by creating a creative workshop;
4. Involve children in joint theatrical activities;
5. Form an idea of ​​different types of theater;
6. Develop speech, imagination and thinking;

Project participants:
teachers Antonova T.G., Amirova G.R.;
children aged 2 – 3 years;
parents of pupils;

Expected result:
favorable adaptation of children to preschool educational institutions;
creating a positive emotional environment of communication between children, parents and educators;
developing the ability to convey the character of fairy tale characters through expressive speech, facial expressions, and gestures;
equipping the theater corner.

Project products:
puppet theater: “Kolobok”, “Turnip”, “Ryaba Hen”, “Zayushkina’s Hut”, “Teremok”;
table theaters: “Kolobok”, “The Ox and the Seven Little Goats”;

Finger Theater: “Teremok”;
flat theater: “Ryaba Hen”, “Kolobok”
masks and attributes for theatrical activities: “Turnip”, “Teremok”, “Hare, Fox and Rooster”;
plot pictures, illustrations for fairy tales;
didactic games: “My favorite fairy tales”, coloring pages based on the fairy tales “Teremok”, “Kolobok”, “Turnip”, “Ryaba Hen”;

Preliminary work:
selection and study of pedagogical literature; reading Russian folk tales “Turnip”, “Teremok”, “Kolobok”, “Ryaba Hen”, poems, nursery rhymes, riddles about the heroes of fairy tales;
listening to sound recordings of children's fairy tales - “The Wolf and the Seven Little Goats”, “Kolobok”, “Turnip”, “Teremok”, “Ryaba Hen”, “The Hare, the Fox and the Rooster”;
attending puppet shows at preschool educational institutions;
viewing toys and illustrations for fairy tales;
complex of morning exercises - “Hen and Chicks”, “In a forest clearing”;

Project implementation stages.
1. Preparatory;
2. Basic;
3. Final;
Preparatory stage:
1. Visual information for parents: “Theater as a means of development and education of children of primary preschool age”;
2. Definition of goals and objectives;
3. Development of a project passport;
4. Individual conversations, consultations with parents to identify their interest in replenishing the theater corner, their abilities in one or another area of ​​​​handicrafts and opportunities.

Main stage:
1) Distribution of tasks between parents (sew costumes, knit masks, fill the corner with various theaters: tabletop, finger, puppet);
2) Organization of a morning reception for children: dressing up in costumes of various fairy tale characters; meeting children with fairy tale characters (using puppet theater);
3)Introduction to fairy tales:

Fairy tale "Teremok":
- telling the fairy tale “Teremok” with a puppet theater show;
- telling fairy tales with children using finger theater;
- designing houses for animals;
- dressing up in costumes and dramatizing the fairy tale “Teremok”;
- didactic games: “Guess who I’m talking about”, “Who lives in the little house?”;
Fairy tale "Turnip":
- telling the fairy tale “Turnip” with a puppet theater show;
- telling the fairy tale “Turnip” with children with a theater show on magnets;
- modeling “Turnip”;
- simulation exercises;
- use of coloring pages for the fairy tale “Turnip”;
Fairy tale "Ryaba Hen":
- telling the fairy tale “Ryaba Hen” with a theater show on magnets;
- telling the Russian folk tale “Ryaba Hen” using a tabletop theater;
- singing children's songs “Cockerel, cockerel...”;
- didactic games: “My favorite fairy tales”;
- active game “Hen and Chicks”;
Fairy tale "Kolobok":
- storytelling of the Russian folk tale “Kolobok” with a tabletop theater show;
- modeling, drawing “Kolobok”;
- dressing up in costumes and dramatizing the fairy tale “Kolobok”;
- exercise “Pretend to be a hero”;
- outdoor game: “Fox - fox”;
- use of coloring books for the fairy tale “Kolobok”;
Fairy tale "Zayushkina's hut":
- telling the fairy tale “Zayushkina’s Hut” with a puppet theater show;
- designing houses for fox and bunny animals;
- dressing up in costumes and dramatizing the fairy tale “Zayushkina’s Hut”;
- imitative movements of fairy tale characters and their voices;
- outdoor games: “The little gray bunny is sitting”, “By the bear in the forest”;
Interaction with parents: replenishment of the theater corner; folder – movement “Theater as a means of development and education of children of primary preschool age”; consultations on organizing home puppet shows.

Final stage:
1. Exhibition of works by parents: “Fairy Tale Workshop”;
2. Matinee “Teremok”;
3. Presentation of the project at a methodological association in a preschool educational institution;

Project results:
1. Children adapt to the conditions of the preschool educational institution;
2. Parents have developed an interest in theater and joint theatrical activities;
3. Replenishment of the theater corner;
4. In independent activities, children improvise with characters from finger theater, tabletop theater and magnetic theater;
5. Children have formed an idea of ​​​​various types of theater.

The theater corner in our group is replenished and updated through the joint efforts of parents and educators. Our latest creation is the crocheted finger theater "Teremok". In the next publication I will show a master class on making this theater.

“Theatrical activities in the 1st junior group”

In such a complex and important matter as raising children, the most effective tool is theatricalization, since it synthesizes almost all types of artistic activity in an accessible and interesting form for the child - a game.

The versatility of theatrical play allows us to solve almost all educational problems when working with children. Therefore, there is not a single kindergarten where this type of activity is not used.

During early childhood, a small child actively learns about the world around him. In kindergarten, he gains experience in emotional and practical interaction with adults and peers. The possibilities for organizing and enriching such experience are expanded if a theater zone or fairy tale corner is created in the early development group. And our task as a teacher is to make the child’s environment bright, interesting, memorable, emotional, active, and mobile.

Objectives of theatrical activities in the first junior group:

Create optimal conditions for the development of the child’s creative activity in theatrical activities;
to form in children a keen interest in theatrical acting

Develop speech and coordination of movements in children

Encourage children to motor improvisation

Bringing joy to children

The theatrical environment is of great importance for the development of a 2-3 year old child; it contributes to his self-expression. All children love to listen to fairy tales, but when a fairy tale comes to life, when the characters begin to move and talk, this is a real miracle for children! So that we, educators, have something to show such “miracles”, we collect theater corners.

We try to introduce children to various types of theater so that each child can choose the theater that is closest and most convenient to him.

In the theater corner there is a finger theater (when each doll is put on a finger); rubber dolls (presented in the form of rubber toys); tabletop theater (all characters, as well as some attributes of the fairy tale, for example: huts, forest, stumps, etc., are presented in the form of wooden figures); bi-ba-bo dolls (each doll is worn on a hand), shadow theater. And of course, there is a stage or screen that makes the puppet show more interesting.

Familiarization with playing dolls begins at an early age.

Putting a doll on his hand, the teacher reads nursery rhymes and fairy tales, imitating voices

animals. This causes a positive emotional reaction in children,

children begin to repeat nursery rhymes and songs together with an adult.

Finger theater from the age of 2 is an indispensable assistant in communicating with children. Acquaintance begins with the formation of children’s skills to control the movements of their own fingers, and a little later they are taught basic actions with dolls.

The teacher acts out a fairy tale for the children that is appropriate for the children’s age. For example: “Chicken Ryaba”, “Kolobok”, “Teremok”, “Turnip”, “Masha and the Bear” and others. During the show, puppet characters and children communicate.

We remember the dough with our hands (we squeeze and unclench our fists)

We will bake a sweet bun (as if we are kneading dough)

Lubricate the center with jam (circular movements with palms)

And the top - with sweet cream (along the plane of the table)

Grandma and Grandpa: Children, blow on Kolobok, let it cool down, and we will go to the house, we are very tired... (The teacher blows with the children.)

Kolobok: Hello! Who are you? (Children's answers). Where are grandparents? (Children's answers.)

Hare : Children, who sings the song so cheerfully? (Children's answers.)

Kolobok (Hare) : Who are you? Long ears, small tail? Children, who is this?..(etc.)

Educator: That’s the end of the fairy tale, and whoever listened - well done!

Where are our palms? Clap a little!

The first classes with children are held in the form of puppet shows, which are shown by the teacher, and the children in this case are spectators.

The main goal of such meetings is to introduce children to the theater, arouse interest in classes, and create a friendly atmosphere of interaction between the teacher and children.

The main work on theatrical activities takes place according to the following structure:

1 Greeting (in a playful way)

2 Preparation (finger gymnastics or game exercises)

3 Work on skits

4 Care

The upbringing and development of children in theatrical activities is one of the main areas of the teacher’s work, where performances are staged, costumes are sewn, scenery is made, tickets are made, and spectators are invited.

The teacher’s task is to reveal the talent of each child, give him the opportunity to believe in himself, and feel successful.

Meeting a doll helps children relax, relieve tension, and create a joyful atmosphere. While playing in the theater area, children learn to understand speech addressed to them, make sentences, communicate with peers, and master the culture of communication.

We present to your attention our version of a developmental environment - the aesthetically designed theater zone “Pinocchio and the Golden Key”. In the corner there is a stage, a mummers corner and a sufficient number of masks for dramatizing fairy tales, educational games, attributes, scenery elements, costumes and hats for independent theater play.

We combine these games with articulation and finger gymnastics, where kids learn to reproduce sound images, master correct speech breathing, and reproduce the rhythms of a poem. By making extensive use of literature and illustrations, it is easy to make these games fun and lively.

Children have free access to toys and play equipment, and each child’s need for speech and creative activity is met through theatrical and play activities.

To show children dramatizations of fairy tales (“Ryaba Hen,” “Kolobok,” “Turnip,” “Teremok,” “Zayushkina’s Hut,” etc.) a picture theater, a tabletop theater of plane toys, musical instruments and a tape recorder are used. Children are delighted with the music and theater corner.

Theatrical games promote the development of memory, teach kindness, sensitivity, honesty, courage, and form the concepts of good and evil. A timid child will become more courageous and decisive, a shy child will overcome self-doubt.

M.E. Saltykov-Shchedrin argued that “of all the secrets that exist in the world, the secret of the doll is the most mysterious.” If you take theatrical puppets seriously, with full responsibility and understanding that some important treasure is hidden in the puppet theater and you need to look for the “Golden Key”, which is so necessary in raising children.

One of the determining factors in raising children is the developing subject-spatial environment - the source of the child’s knowledge and social experience.

And I would like to hope that the love for the theater, for creativity, for music will remain with ourpupils forever.