consultation for educators "Use of theatrical activities in working with children"

“The variety of expressive means of theater”

Goal for the teacher: ensuring perception, comprehension and primary consolidation of new material

Goal for children: understand new material through research activities

Teacher: Guys, here you are, coming to an art exhibition and, looking at the picture closely before your eyes, you see some oil strokes or some strokes. But, if you move some distance away from the canvas, then before your eyes there appears a panorama of life with moving people, green trees, houses, sunset sky, etc. This is how the artist expresses his vision. How does he paint the picture?

can we name them? Are they expressing something?

What is the topic of our lesson?

The theater also has a lot of expressive means. From the era of Greek theater to the present day, means of expression have undergone significant changes. Let's together define what a means of expression is? An expressive means is a technique, a way of external manifestation that reflects the internal state of something. In this case, a person, a character. The performance consists of expressive means, and primarily acting.

What means of expression can you name?

Well done, you named a lot of expressive means.

Now answer me the question: why do actors need expressive means in the theater? And for the viewer?

(For an actor - to explain everything clearly, to convey the meaning of the performance.

For the viewer - so that the performance is interesting, colorful, memorable, so that everything is clear to the viewer, in order to awaken bright, wonderful feelings)

Let's imagine that we are in a theater workshop. And today we will work on some expressive means that not only help the actor influence the viewer, but are also needed by any person for more effective communication.

Let's start by doing articulation gymnastics, but not ordinary ones. Now we will act out an articulation fairy tale. I will tell, and you will show. The necessary actions will be shown on the screen. Ready? Then let's begin.

In one forest there lived a little Piglet.

And at the other end of the forest lived his friend - Winnie the Pooh.

Winnie the Pooh and Piglet were friends.

One day Piglet decided to go visit a friend. He left the house, closed and opened the door.

Piglet was very cowardly, so he looked to see if someone was hiding in the bushes.

And then he looked at the sky to see if it was going to rain.

Everything was in order, and Piglet ran happily along the path.

There was a fungus growing near the path.

Suddenly a big, very big horse came out from behind the bushes. Piglet sat on it and galloped off.

And Winnie the Pooh was painting the fence at that time.

At this time Piglet galloped up.

While Winnie the Pooh was painting, a strong wind rose. The bear cub got terribly dirty and became very shaggy. Of course, he could not meet his friend in this form.

So he ran to wash himself.

And Winnie the Pooh needed to comb his hair.

When the friends met, they first chatted.

Then the friends decided to play ball.

Evening came. Friends said goodbye. Piglet got on the horse and galloped home.

Well done.

“Theatrical warm-up.”

One, two, three, four, five - Do you want to play? (Yes)

Then tell me, friends, How can you change yourself? To look like a fox? Or a wolf, or a goat, Or a prince, Yaga, Or a frog in the pond?

I have scarves on my table. I suggest you take scarves and use them to try to portray the following characters:

- old grandmother

- a patient with toothache

- babu yaga

Well done! We completed the task.

And without a costume, can children turn into, say, the wind, or rain, or a thunderstorm, or a butterfly, a wasp? What will help here, friends?

What are facial expressions and pantomimes?

(Facial expressions are facial expressions. Pantomimes are body movements, without words)

Masha:

Here's the news! I almost fell off the porch! Everyone has a facial expression! I’m frightened and wondering, what am I expressing on my face? Probably courage, probably intelligence! What if I don’t boom-boom in my facial expressions?

Let's check, guys, if you have facial expressions.

There are, without a doubt, different moods, I will call it, try to show it to me.

Show with facial expressions:

sadness, joy, surprise, grief, fear, delight, horror, ate a lemon

And now the time has come to communicate with gestures, friends! I say my word to you, I expect gestures from you in response.

“Come here”, “hello”, “bye”, “quiet”, “no way”, “oh, tired”,

“I think”, “no”, “yes”, “you’ll get it now.”

Well done!

Facial expressions and pantomime are expressive means that any artist must master, i.e. be able to control your body.

How can we express our thoughts and feelings out loud? That's right, with the help of speech. It is very important in what voice we speak. Why do you think? By the voice we can understand whether a person is angry or kind, sad or cheerful, whether he is scared or offended. Lowering or raising the voice, pronunciation that expresses our feelings is called intonation.

I suggest you watch the video “Meeting with the Writer”, and then we will discuss it.

Do you understand what the next book will be about? Why? Did you like the acting in this story? What was their speech like?

Summarizing your reasoning, we can conclude: To be listened to and understood, you need to be able to speak clearly, expressively, and sometimes emotionally.

Let's see how the actor's speech conveys the emotional mood of his character. But before that, let's prepare our voice for work.

Voice power exercise “Balloon”

Dynamic pause:

Means of activating and techniques for enriching theatrical activities of children 4–5 years old

Anna Goncharova

Means of activating and techniques for enriching theatrical activities of children 4–5 years old

Pedagogy and psychology define creative play as the leading activity At the same time, in the system of creative games, a special place is given to theatrical play activities , which, assuming the artistic modeling of emotions, acts as a source of development of feelings, teaches the child to understand others, put himself in the place of others in various situations, and find adequate ways of interaction. Along with this, in the process of such a game, the creative abilities of preschoolers develop, their desire to fantasize and realize what they want in reality.

The theatrical activity of a child is a technological process that begins with familiarization with the literary basis of the future performance, with the preparation of the child’s perception, is accompanied by a detailed analysis of the plot and actions of the characters, a discussion of the strategies of their behavior, and continues with testing oneself in the chosen role and the role of the favorite character of the perceived performance, in understanding and learning the role, independently embodying the image of the hero and the concept of the performance.

The specific means at each stage of pedagogical technology available to theatrical activities have a fascinating content, are close and understandable to children, which allows them to intensify and enrich the personal experience of children and contribute to the development of their personality.

Theatrical activity is based not only on the perception of vivid visual images, supported by interesting content, but also on independent children's activity , which allows the child to express his inner position, his attitude to what is happening, thoughts and feelings. Self-realization, self-expression and self-development of the child’s personality occurs. Each stage of the unfolding theatrical activity is accompanied by adequate pedagogical techniques that help children perceive the performance holistically or be full participants in it.

Thus, rhythmic games and sketches as a means of activating the theatrical activities of preschool children help the child develop creative abilities. The most important thing in children's creative theater is the process of rehearsals, the process of creative experiences and embodiments. Since it is in the process of working on the image that the child’s personality develops, symbolic thinking and motor emotional control develop. In addition, rhythmic games and sketches free a person from negative emotions and thoughts, relieve nervous tension, lead a person to a state of peace and joy, and also help strengthen the physical health of preschoolers

Studying the problem of intensifying theatrical activities in preschool children is relevant due to the fact that the main condition for the progressive development of society is a person capable of creative creation with a high cultural level of development. Theatrical activities are focused on the comprehensive development of the child’s personality, his unique individuality, his emancipation, involvement in action, activating all his capabilities; for independent creativity; development of all leading mental processes. Promotes self-knowledge and self-expression of personality with a fairly high degree of freedom; creates conditions for the socialization of the child, while strengthening his adaptive abilities, corrects communication deviations; helps to realize the feelings of satisfaction, joy, significance that arise as a result of identifying hidden talents and potentials. Thus, theatrical activities with children not only develop the mental functions of the child’s personality and artistic abilities, but also the universal human ability for interpersonal interaction and creativity in any field. In addition, for a child, a theatrical performance is a good opportunity to become a hero, at least for a short time, to believe in himself, and to hear the first applause in his life.

The purpose of the work is to intensify theatrical activity in preschool children aged 4-5 years through rhythmic games and etudes.

In work on theatrical activities of preschoolers, the following main tasks are determined:

- developing the ability to convey through movement, facial expressions, posture, gesture, and theatrical puppets the basic emotions of rhythmic improvisations, games and sketches;

children’s creative independence and the ability to control their body;

- nurturing a sustainable interest in theatrical and play activities , the desire to take an active part in leisure , holidays, and entertainment, using improvisational skills.

The basic principles that formed the basis of the work are also defined:

— The principle of purposefulness.

— The principle of systematicity and consistency.

— The principle of accessibility.

— The principle of educational and developmental education.

— The principle of strength.

All of the above provisions of the leading principles of training and education are the core basis of the work of the educator.

In order to fulfill the assigned tasks, elements of theatricalization are used by the teacher in all types of organized activities of children : in direct educational activities , in individual work, in children’s free activities , games, entertainment, and holidays. Rhythmic games and sketches are a natural continuation of the line of teaching children the language of improvisation , mastering the capabilities of their body, the ability to independently invent and create, thereby intensifying the theatrical activities of preschoolers .

With children 4-5 years old, work begins with giving children the opportunity to take a closer look at their body and feel its capabilities. For example, games are transformations. Children enjoy repeating and performing various tasks, for example: in the transformation game “Mill”

, which is used in
direct educational activities on social education “I am a man”
, as a physical education minute, the children perform expressive hand movements with interest, small wave-like movements complement the exercise, turning it into a kind of dance.
The transformation game “Wooden and rag dolls”
helps to emancipate
children , they are happy to repeat it in independent activities . Games - transformations “Forester”
,
“Forbidden movement”
and others, in
direct educational activities for the development of speech “Visiting friends from the Flower City”
,
“Make up, make up, make up and don’t fight anymore”
, are used as
theatricalization . Rhythmic games - transformations help children 4-5 years old to relax, feel self-confident, and improvise to music. With the help of these games, children develop rhythmic activity and creative imagination. These games are good to use during physical education minutes: jumping, running, various types of dance movements, rhythmic movements, in combination with musical accompaniment. Transformation games are divided into easy and more complex ones. Inaccurate execution of transformation games negatively affects the disclosure of images. Therefore, in individual work, you need to pay attention to how children convey this or that image in motion. For example, in the transformation game “Flying Petal”,
aim
children at improvisation , the manifestation of their own imagination. Children partially improvise what they can do. If you make the game of transformation more complicated, then you need to prompt the children, work out the image of “flying petals”
, and then the children improvise on their own using musical accompaniment. The main thing is not to rush, not to wait for quick changes.

It is very interesting to play with children in free activities , musical and rhythmic compositions with elements of theatricality . Children are happy to transform into fairy-tale or real characters, use a variety of facial expressions, characteristic gestures, actions, and show invention and imagination. Figurative movements are associated with elements of imitation, which is why they are often called imitative. Movements that are used during the show can correspond to the theatrical image , emphasizing its character and means of musical expressiveness.

It is easy for children to transform into various images, depict the habits of animals, birds, natural phenomena, labor actions of people, and imitate fairy-tale characters. Therefore, it is better to support and develop creative initiative; this contributes to children’s strong assimilation of a variety of etudes, including various types of rhythmic movements.

To intensify the theatrical activity of preschoolers, you can use sketch training exercises with children of all ages, which stimulate further work on images; allow you to determine the level of knowledge of conscious improvisation.

In the evening or any other time, you can conduct theatrical games children, which help children, thanks to the game situation, transform into the images of fairy-tale characters, liberate the child, test the strength of acquired knowledge, children's independence and their creative capabilities. The pleasure and joy associated with the game mask the monotony of repetition. All this once again suggests that children are especially willing to play out different images in theatrical activities , being in a play situation.

In free activity , on a walk, or as a physical activity, you can also play rhythmic games with children - improvisations, which activate children's creativity in dance improvisations, help master the language of plasticity, combining rhythm and theatrical imagery . Such games give you the opportunity to feel your body and create a vivid, memorable image.

Also, when working with children, they also use theatrical performances based on fairy tales, in which children consolidate their acquired knowledge in direct educational activities , in free activities , and in individual work. And all the previously studied rhythmic games and etudes help to intensify theatrical activity , and it is easy for children to move on to performances and dramatizations. In the process of showing a theatrical performance, children improve their ability to transform into the images of various characters. Here, the share of theatrical activities increases, if possible, and the share of direct teaching moments decreases.

When working with children on a theatrical image , not everyone is able to improvise any plot. Therefore, individual work with preschoolers is necessary. For this purpose, various etudes and rhythmic games are selected together with the children, their interest is taken into account. Children, together with the teacher, can collect various images, write, and improvise. Individual work develops not only general, but also special in-depth theatrical abilities based on natural inclinations; raises the development of the creative process to a higher level, all this contributes to the activation of theatrical activities in children . In the future, this will allow children to take an active life position . You also need to pay attention to children's independent theatrical activities . In free activity , children can be asked to play familiar rhythmic games and sketches, thereby reinforcing, and the children apply the acquired skills of transformation into various images. I encourage you to use musical accompaniment; short theatrical skits ; toys - substitutes, life-size dolls; theatrical makeup , all this helps the child convey an emotional state, an image when performing theatrical games , performances, and performances.

The role of theatrical activities in the development of preschool children

This article reveals the importance of theatrical activities in the life of preschool children. It is the most common type of children's creativity and should occupy an important place in the pedagogical process of a preschool institution and contribute to the comprehensive development of children. The article describes the work experience of a teacher at the Katyusha kindergarten, the city of Surgut, Khanty-Mansiysk Autonomous Okrug.

Theatrical activity is the most common type of children's creativity. It is close and understandable to the child, lies deeply in his nature and is reflected spontaneously, because something is connected with the game. The child wants to translate all his inventions and impressions from the life around him into living images and actions. Entering the character, he plays any role, trying to imitate what he saw and what interested him, and receiving great emotional pleasure [7, p. 4]. The educational possibilities of theatrical activities are wide. By participating in it, children get acquainted with the world around them in all its diversity through images, colors, sounds, and skillfully posed questions force them to think, analyze, draw conclusions and generalizations. Improvement of speech is also closely related to mental development. 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 his speech and its intonation structure are improved. 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. It can be argued that theatrical activity is a source of development of the child’s feelings, experiences and discoveries, and introduces him to spiritual values. This is a concrete, visible result. But it is equally important that theatrical activities develop the emotional sphere of the child, makes him sympathize with the characters and empathize with the event being played out. Thus, theatrical activity is the most important means of developing empathy in children, i.e. the ability to recognize a person’s emotional state by facial expressions, gestures, intonation, the ability to put oneself in his place in various situations, and find adequate ways to help.

Theatrical activities make it possible to develop the experience of social behavioral skills due to the fact that every literary work or fairy tale for preschool children always has a moral orientation (friendship, kindness, honesty, courage, etc.). Theatrical activities allow the child to solve many problematic situations indirectly on behalf of a character. This helps to overcome timidity, self-doubt, shyness [4, p. 5].

The characteristic features of theatrical games are the literary or folklore basis of their content and the presence of spectators (L.V. Artemova, L.V. Voroshnina, L.S. Furmina, etc.). They can be divided into two main groups: dramatizations and directorial ones (each of them, in turn, is divided into several types).

In dramatization games, the child, playing a role as an “artist,” independently creates an image using a set of means of verbal and nonverbal expressiveness. Types of dramatization are games that imitate images of animals, people, and literary characters; role-playing dialogues based on text; staging of works; staging performances based on one or more works; improvisation games with the acting out of a plot (or several plots) without prior preparation.

In director's play, “the actors are the toys or their substitutes, and the child, organizing the activity as a “scriptwriter and director,” controls the “artists.” “Voicing” the characters and commenting on the plot, he uses different means of verbal expression. Types of director's games: tabletop, plane and three-dimensional, puppet (bibabo, finger, puppets), etc. [1, p. 24].

To successfully develop children’s creative activity in theatrical activities, a number of conditions must be met:

— create conditions for the development of children’s creative activity in theatrical activities;

introduce children to theatrical culture;
ensure the relationship between theatrical and other activities;
create conditions for joint theatrical activities of children and adults.

I organize theatrical activities in the morning and evening hours at unregulated times; I organically include it in various other activities (musical, cognitive, etc.) One of the main means of developing a child’s personality is the environment. Moreover, the subject-development environment not only provides joint theatrical activities, but is the basis for the independent creativity of each child, his unique form of self-education [4, p. 7].

Thus, theatrical activities greatly captivate the children of my group with their brightness, colorfulness, dynamics and diversity. It introduces children to the theater, and they love this art; the unusualness of the spectacles that unfold by me or by the children themselves captivates children and transports them to a very special, fascinating world. Theatrical activity is not copying, but a creative process of creating images, scenery, and plays. This activity is available to children from a young age. We play theatrical games with children and they bring pleasure, joy, and cause a good mood. But this is not the only educational potential of this type of activity. Through such a game, children receive an example of friendship, truthfulness, and responsiveness through the positive characters of the play. Theatrical activities should occupy an important place in the pedagogical process of a preschool institution, promote the creative development of children, and form the basis of their personal culture [2, p. 36].

Our kindergarten operates according to an exemplary general educational program for preschool education “From birth to school”, edited by N.E. Veraksy, T.S. Komarova, M.A. Vasilyeva, supplementing it with various modern partial programs. Analyzing existing programs recommended for working with preschool children, we came to the conclusion that today, when the problem of preschool education and upbringing is being widely and fundamentally solved and the tasks facing us, teachers of preschool educational institutions, are becoming more complex, the task of introducing children to theatrical performances remains very important. activities and development of children's creative abilities.

In our kindergarten, each group has created areas for theatrical games, where rich didactic material is collected: folders “For children about the theater”, “Theater professions”, “Types of theater”, etc.; card files have been developed: “Exercises and etudes”, “Games for transformations”, “Games for actions with imaginary objects or for the memory of physical actions”, “Ri, etc. There are also card files of games and exercises for speech breathing, articulatory gymnastics, exercises for neck and jaw, games and exercises to expand the range of the voice, creative games with words. Bright albums with illustrations and pictures for fairy tales attract children's attention. Parents took an active part in the creation of theatrical corners. As a result of joint work, different types of theater emerged: finger theater, tabletop theater, shadow theater, life-size puppet theater, “Snapping Head” theater, “Funny Glove” theater, etc. A variety of materials and patterns were selected for children to independently make attributes and elements of costumes for performances .

Theatrical areas have become one of the favorite corners where children with great pleasure act out their favorite fairy tale plots, rehearse roles, and look at illustrations. All this gives children the opportunity to plunge into the world of fantasy and imagination.

It has become a good tradition in our kindergarten to hold performances for children. Children get great pleasure from participating in such events. In the process of creative activity, children’s fear of making mistakes, of doing “the wrong thing,” is overcome, which is essential for the development of courage, freedom of children’s perception and thinking, everyone is given the opportunity to feel smart, resourceful, and quick-witted.

Children's creativity is facilitated by the established contact between teachers and the parents of our students. We strive to achieve a relationship where mothers and fathers are not indifferent to their children’s creativity, but become active allies and assistants to the teacher. Together with their children, parents make costumes and scenery for performances, and teach them roles. They take part in projects that we organize together. Parents give presentations on their Theater at Home experiences at parent-teacher conferences. And also, as part of the “Theater Every Day” project, they come and, together with the children, take part in the staging of Russian folk tales. All this contributes to rapprochement and mutual understanding in the families of the pupils.

We work to develop children’s creative abilities in theatrical activities in close contact with the music director and parents. The entire kindergarten team participates in the preparation of theatrical performances: together with the teachers, we prepare scenery, posters, and develop costume sketches. Together with the music director, we select musical pieces, learn them, and work on choreographing the dances. We share our experience with colleagues. We show theater for children of younger groups.

So, one of the most effective ways to influence a child is theatrical activity, in which the principle of learning is most clearly manifested: learn by playing!

All of the above allows us to draw the following conclusions:

During the process of theatrical play, children learn about the world around them.
Mental processes develop.
Speech develops.
Motor skills are improved.
The emotional-volitional sphere develops.
Behavior correction occurs.
A sense of collectivism develops.
Creative abilities are developing.

Bibliography:

Akulova O. Theatrical games. // Preschool education. - 2005. - No. 4. - P. 24.
Bochkareva L.P. Theatrical and play activities of preschool children: A methodological manual for specialists in preschool education. - Ulyanovsk, IPKPRO, 1993. - 48 p.
Koshmanskaya I.P. Theater in kindergarten (Series “Your Child’s World”). - Rostov n/d: publishing house "Phoenix", 2004. - 320 p.
Makhaneva M.D. Theatrical activities in kindergarten: A manual for preschool workers. - Moscow. Publishing house "TC Sfera", 2004. - 128 p.
Petrova T.I., Sergeeva E.L., Petrova E.S. Theatrical games in kindergarten: Development of activities for all age groups with methodological recommendations. — M.: School press (Preschool education and training. Supplement to the magazine “Education of Schoolchildren.” Issue 12), 2000. — 128 p.
Tsarenko L.I. From nursery rhymes to the Pushkin Ball... - M.: LINKA-PRESS, 1999. - 160 p.
Shchetkin A.V. Theater activities in kindergarten. For classes with children 4-6 years old / ed. O.F. Gorbunova. - M.: Mozaika-Sintez, 2007. - 144 p.

Methodology for using expressive means in a theatrical festival

This article examines the problem of using expressive means in a mass theatrical festival. The specificity of mass representation lies in the special, often minimalist use of words. Modern mass performance can often include such types of arts as fragments of performances, songs, dances, etc.

Key words: holiday, mass, script, art, illustration, theatricalization, ideological and emotional impact

A mass holiday has a variety of means of ideological and emotional influence. Thanks to them, an emotional presentation and assessment of what is happening on the festive site is built. However, “not all holiday organizers manage to achieve high emotional and meaningful results of the holidays. Namely, emotions and content constitute, according to theorists, the basis of creative performance.” [1,181].

They primarily determine the screenwriter's palette. This is, first of all, a living word that creates images that can directly embody and convey the actions, feelings, moods and experiences of people. It is the living word that creates an atmosphere of communication between the stage and any audience. In addition, it carries specific material. An oral presentation in a series of festive events can cover a large period of time, introduce those gathered into an atmosphere of struggle, and convey what cannot be expressed through the means of art.

The specifics of mass representation require extremely economical use of words. This specificity is such that it is permissible to resort to a word with particular rigor and exactingness, to try to find a visual equivalent for it, and if you use it, then as diversely as possible. It is also very important that the participants in the action are emotionally prepared to perceive the speech; a kind of exposure to the appearance of the speaker and his speech is necessary. This is the difference between performing in a theatrical performance and other types of performances. The word of an interesting hero, an honored guest, a participant in certain events is often an obligatory component of a mass action.

Another common type of use of the living word in a mass performance is the speech of the presenter, which contains an important idea and connects episodes. The course of a theatrical festival is more spectacular and emotional when the leader makes a figurative decision, who carries a semantic load and becomes a full-fledged actor, a theatrical character. The basis for creating the image of the presenter is taken from the characters of the story, the characters of the collective image: the earth, the book, the teacher, warriors, young people, etc. The poetic word is also an effective tool for the screenwriter.

Thus, speaking about the word as an expressive means of a mass holiday, we consider it both as a documentary, journalistic word, and as an artistic one.

Other expressive means of theatrical mass performance are various types of art, which are used as dramatizations, fragments from plays and films, songs, music, dance and individual artistic performances. These types of art influence with the power of artistic images, allow you to reproduce events in their movement and development, convey the historical and everyday situation, transfer participants from one place of action to another, show social processes in a matter of minutes, and reveal the intensity of the conflict. “The means of art used in a mass celebration emotionally attune its participants, enhance the impact of the events taking place on the stage, convey the feelings of the characters, complement and move forward the action” [2, 52]. they are used as a continuation of thought or action, as a “background” to an oral presentation, as a visual image.

Art, as an expressive means of a theatrical mass performance, can act in it both as an illustration, and as a driving force of the plot, and as an association. When illustrating a thought, they most often use a methodical technique of continuing this thought through the means of art.

There is also another, less common method of using art in mass action - association, i.e. the desire, with the help of already existing, familiar images, to enhance the sound of certain components of the plot, to make the real image of a contemporary brighter, deeper, more understandable.

Thus, in the mass holiday dedicated to Victory Day, the episode “No One is Forgotten.” The appearance on stage of real heroes - search engines who visited the battlefields, with the participation of their relatives who died near Leningrad. Participants walked across the entire stage area with bouquets of carnations in a very large vase. The screens showed photo slides of visiting mass graves, burial places of relatives, reading the Koran and sprinkling graves with earth from the Mausoleum of Khozha Akhmet Yassaui in Turkestan. This episode created the association of personal presence at the long-awaited meeting of the unknown past and the real today. All spectators from the hall became participants in the moment of the meeting of war and peace, the selfless feat of soldiers, whose portraits were shown during the procession and the story of the soldiers - heroes.

These actions can be replaced by other methods of association. The scarlet banner was slowly unfurled on the site with the soldiers' helmets being taken out and kneeling in front of them.

Associativity is an important method of using art as one of the components in dramaturgy and directing a theatrical mass performance.

Let's take a closer look at the use of music. It can be very appropriately used in a theatrical concert, holiday, rally, procession as a more or less independent whole, even specially created for a specific holiday date. But most often we are talking about a kind of musical dramaturgy of the script, which is based on the synthesis of ready-made musical works belonging to different composers. This is a difficult task, it requires the ability to skillfully edit musical excerpts and a certain musical erudition.

It is appropriate to use the choir as a character at the holiday. Expressing the main idea of the holiday of the 68th anniversary of the Victory of the Soviet troops in the Great Patriotic War, the choir performed three songs sequentially throughout the entire action: “Buchenwald Alarm” by V. Muradeli, “We are all for peace” by S. Tulikov. “Beibit kun ushin” by Sh. Kaldayakov .The technique, used like an ancient choir, turned into a participant in mass action, expressing the grief and protest of the people against the war. Music can become the leitmotif of the entire action, a way to enhance the emotional support of what is happening, and emphasize the associative nature of perception.

Like music and song, a director of mass action can make extensive use of feature and documentary films. It is used especially successfully in the prologue, helping to transport the participants to the era of certain historical events, preparing them for a subsequent meeting with the heroes of these events. These are the numerous film prologues dedicated to the history of our native land, the military path of the army, and the working people.

This was the film prologue that opened the solemn festive performance at SKSU, dedicated to the 70th anniversary of the university. Documentary footage is projected onto the full screen, reviving in memory the stages of the formation and development of the university since 1943 - the year the institute opened. At the end of this film prologue we see students running out of the classroom. As if continuing the film montage, student choreographers run from the depths of the stage, starting the festive performance.

Film material allows you to enhance the sound of an episode in the right direction and enlarge it into a mass action. In a theatrical concert dedicated to the anniversary of SKSU named after. M. Auezov’s dance number “Friendship of Peoples” was “accompanied” by film footage about the unity of the people of Kazakhstan, that the small Assembly of students studying at the university is a particle, a symbol of the peacefulness of the people of Kazakhstan. The dance was shown simultaneously on three screens and seemed to expand the boundaries of dance, turning it into a kind of symbol of unity.

A widespread technique is to use fragments from feature films in constructing a festive event, when the characters seem to come to life and leave the screen. This writing and directing technique is especially popular in corporate performances, where it is possible to show the holiday hero in close-up.

Reveal the biography of the hero, revive the pages of his youth. The possibilities of using cinema or video as an expressive means in a theatrical mass performance are extremely diverse.

Modern holidays are hard to imagine without dancing. At one of the holidays in Shymkent, dedicated to the Day of Victory over Fascism, the dance, symbolizing a fierce battle with enemies, organically smoothly turned into a “broken circle”, built from frozen monuments of mothers and children hugging, different nationalities with candles in their hands. This mise-en-scène decision was read as an image of the Motherland mourning its lost sons. This figurative mise-en-scène of “Grieving Mothers” not only became part of the plot, but also gave the action an associative character. The circle in the Kazakh worldview is the continuity, unity, and inviolability of the connections included in this circle. The war destroyed this connection.

In a mass celebration, the role of visual means, a visual solution, which acts as one of the most important components of theatrical action, is very important. Imaginative design, thoughtfulness of individual symbolic details that carry a special semantic and emotional load - everything is important in the ability to emphasize the main idea. Thus, to celebrate the anniversary of the region, the artist (Honored Worker of Culture of the Republic of Kazakhstan Zhumakulov K.) conceived an interesting image of the stage area in the form of the attire of an old man, whose head rose above the cloth-clothing at the grate. From his shoulders to the red line, the entire area was covered with his cape robe. On the surface of which the performers appeared and hid, i.e., actions took place about seventy years of the region, in facts, performances of heroes, artists, etc. The Earth remained a witness to everything that was happening and led a commentary along with “its children” - the presenters.

Thus, it is clear that a specific scene of action can suggest to the production designer an interesting decorative and artistic image of the holiday.

The work of a director and screenwriter in the genre of a mass festive spectacle requires the ability to use the effects of light and sound, the importance of which is especially significant now, when the latest technical means - light sources, projection and sound recording equipment limitlessly expand the possibilities of light and sound effects.

Sound recordings also allow the director and screenwriter to recall any historical event, “transport” the participants in the action either to Independence Square or to the site of the cosmodrome, and listen to speeches by prominent figures of the country.

In addition to the scripted expressive means of a theatrical holiday, there are also specific independent possibilities for enhancing the emotional impact of the holidays. These are the expressive means of theater art. They are built on the creation of symbolic and allegorical actions used in stage actions - mise-en-scène; material objects that carry a spiritual-sign effect of external and meaningful influence. [3,461] They are reflected in attributes, clothing, props, and stage design. The following article should be devoted to the types, contents and technologies of their use.

Literature:

Bordovskaya N.V., Rean A.A. Pedagogy - S.P.b., 2001.
Sharoev I.G. Directing variety shows and mass performances. - Moscow: Education, 2000. - 2nd ed. — 461 S.
Konovich A. A. Theatrical holidays. M. Higher school, 1999. - 206C.