Description of the work experience “Ecological theater as an innovative form of work on the environmental development of preschool children”

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If we are destined to breathe the same air, let us all unite forever. Let's save our souls, Then we ourselves on Earth will be preserved. Explanatory note The “Ecological Theater” program is designed for 4 years of study and is aimed at middle and high school age (grades 6-11). 1st year of study - 144 hours 2nd year of study - 216 hours 3rd year of study - 216 hours 4th year of study - 216 hours

The association's work program is aimed at organizing students' activities to study the natural environment and participate in real environmental activities in their region, their region.

Environmental education in this program involves not only acquiring knowledge of theatrical art, but also the development of environmental culture, as well as the formation of practical skills, which allows students to make a real contribution to the conservation of nature.

Communication with nature is the main condition for the formation of environmental responsibility in relation to the natural environment. Most of the time is devoted to practical, creative activities. Theater is a magical world in which a child, while playing, learns about the natural world around him.

The brightest and brightest impressions of childhood are often associated with the theater. From a very early age, the child strives to show his creativity. Therefore, it is so important to awaken his imagination, to try to realize his creative abilities as much as possible. Theater arts classes with children begin with play. Children playing represent examples of the most authentic, most genuine creativity. For them, “theater” and “game” are inseparable concepts. Children begin to play theater at primary school age. They gather in groups, rehearse fairy tales they know, prepare costumes and scenery, and show performances to residents of their street. Children try to translate their fantasies into living images and actions.

Ecological theater takes children beyond the circle of ordinary impressions, gives them the opportunity to experience the highest feelings, makes them richer and more subtle, develops the ability to respond vividly to the world around them and evokes the need for creative expression.

The program is written for ordinary children and is designed that classes in a theater club will help schoolchildren develop their creative abilities, develop children's imagination, the ability to empathize with what is happening, and increase self-confidence. After all, theater not only entertains, but also educates morally and aesthetically.

The program allows children to see the results of their work. Each stage of work in the classroom is like a new step, allowing students to feel movement forward. This is also a performance where children, as a rule, give away everything they received in class with the greatest completeness and excitement. In these cases, both the process of collective creativity and the presentation of the performance leaves a noticeable mark on the memory and consciousness of the performers.

The main principle of the program is based on a general pedagogical approach - the path from simple to more complex. The classes are structured so that they are accessible and interesting to children, awaken their creative initiative, create a feeling of unusualness and excitement, and evoke positive emotions in introducing them to the magical world of nature.

The group is formed in accordance with the age and individual abilities of the students.

Principle of participation: voluntary.

The program provides:

— conducting conversations; — environmental games for the development of imagination; — excursions into nature; — viewings and discussions of performances and films; — television productions; — competitions; — entertainment;

which contribute to team unity, broadening the horizons of students, provide the opportunity for active recreation, and have a positive meaning. This is always a holiday and a good reason for communication and exchange of impressions.

It is through art that children get to know nature better, it is through art that love for nature comes, since art is part of the communication between man and nature.

The final lesson at the end of the year is a performance. This is a kind of report form. A performance, like a work of art, lives only during those hours when it is on stage. And for a successful performance you need a preliminary attitude, mobilization of attention, imagination, memory and feelings.

I would like to believe that the small shoots of a good attitude towards nature will grow into concrete good deeds. After all, the hand of a person, who at least once heard the voice of the crying Earth in his heart, will never rise to it again.

The 1st year program is designed for 144 hours. Children receive their first basic understanding of theater, children develop environmental knowledge and develop an active life position in nature conservation, and become familiar with stage literacy through exercises and sketches. The initial stage of schoolchildren’s introduction to the theater is associated mainly with fairy tale performances. A fairy tale in the theater is a kind of classic, where a child encounters ideal images that personify the best features of the human personality and evokes disgust for evil.

The 2nd year program is designed for 216 hours. The general level of development of students in grades 6 and 7 makes it possible to use a wider range of plays and achieve independence. Nurturing the moral and aesthetic qualities of the individual, the formation of a responsible attitude towards nature, and a high culture of communication with it. Work is underway to improve the sketches.

The 3rd year program is designed for 216 hours. Students in the 8th and 9th grades are more stable in their interests, aspirations, and tastes. Development of practical skills aimed at preserving and increasing natural resources. Children are able to understand and feel the social significance of environmental problems in the process of preparing a performance. In classes with students, we must strive to increase the independence of schoolchildren in the analysis and interpretation of the literary material selected for performance.

The 4th year program is designed for 216 hours. Students in the 10th and 11th grades, at this age children receive the necessary values ​​in relation to the environment, as well as motivation to actively participate in improving and protecting the environment. They acquire analytical skills, the ability not only to perceive, but also to understand their own perceptions, the ability to create their own vision and argue for it.

Goals and objectives

Children should identify: - the inclinations and abilities of each child - the ability to create a team of like-minded people - targeting independent creativity - acting skills - with the help of sketches and exercises certain knowledge - an atmosphere of goodwill, mutual trust - respectful attitude towards nature - the ability to be authentic, logical and purposeful acting in imaginary circumstances is a conscious discipline.

Educate:

— a humane, creative, comprehensively developed personality, capable of understanding and loving the world around him, nature, and treating it with care — adequacy of environmental consciousness and behavior

Develop:

- needs for communication with nature - attention, imagination, sense of rhythm - stylistic flair

Shape:

- a sense of responsibility for the fate of the planet - a willingness to solve certain problems from the perspective of knowledge of natural processes Help: - gain the ability to freely navigate problems related to the environment - acquire the necessary values ​​of attitude towards the environment, as well as motivation for active participation in improving and protecting the environment - to ensure the opportunity to actively participate at all levels in working to solve environmental problems. Cooperation with students should be organized on the basis of the following “NOT”: - We do NOT prohibit, but guide; — We do NOT manage, but cooperate as equals; — We do NOT force, but we convince; — We do NOT command, but organize; — We do NOT limit, but provide freedom of choice; — We are NOT looking for weaknesses, but developing strengths.

Work of creative groups 1. Creative - working on the creation of a new performance: writing a performance, performing director's work. 2. Modeling - designs and manufactures costumes. 3. Artistic - responsible for the scenery and artistic design of the performance. 4. Musical - provides musical accompaniment to the performance. 5. Economic - calculates the costs of making costumes and scenery. Working with parents - Conversations; — meetings; — joint work in preparing costumes and props for performances; - family trips; — joint actions; — a voluntary financial contribution to the needs of the association. Recommendations for using the program. 1. The etudes and exercises indicated in the program can be used in any order, distributing them according to the degree of difficulty. 2. In practical work with students in the classroom, you can use exercises from different sections simultaneously. 3. Exercises should be grouped taking into account the specific task of the next lesson. 4. Exercises and sketches need to be varied and gradually complicated. 5. Sketches and exercises must be repeated and practiced in order to teach teenagers to develop the proposed fiction, making it more and more precise. 6. In classes with younger teenagers, the leader should sometimes get involved in one or another exercise in order to set the desired rhythm for performing it and direct it along the right path, awakening the creativity and activity of students. 7. Learning to read a dramatic work. 8. Translation from passive to active perception of such categories as “subtext”, “undercurrent”, etc. 9. Instill interest in the theatrical embodiment of a dramatic work. 10. Development of practical skills in theatrical performance, in particular the determination of the principles of the director's decision of the play. Educational and thematic plan for the 1st year of study

Educational and thematic plan for the 2nd year of study

Educational and thematic plan for the 3rd year of study

Educational and thematic plan for the 4th year of study

Literature used 1. A.Ya. Mikhailova “Theater in the aesthetic education of junior schoolchildren.” 2. “Fundamentals of theatrical culture at school - M, 1988. 3. Rudzik M.F. “Fundamentals of theatrical art and dramatization for schoolchildren” - M. 1994. 4. “Modern problems of theatrical and creative development of schoolchildren” - M. 1989. 5. Yu.I. Rubina “Fundamentals of pedagogical management of school amateur theater performances.” 6. V. Bespalov “School drama club.” 7. V. Shiryaev “Dramatic club of schoolchildren.” 8. Yu.I.Rubina “On the development of artistic abilities of schoolchildren in drama classes.” 9. V.P. Shilgavi “Let's start with the game? 10. Yu.M.Chistyakova “Psychogymnastics II”. 11. M. Chekhov “Literary Heritage” TR-2 12. A.P. Kovalev “Theater Masters on the Art of the Actor” - M. 1949 13. “Fundamentals of aesthetic education” - I.A. Kumaeva - M. 1986. 14. “At the origins of the Russian theater” - A.I. Kuzmin M. 1984. 15. “Theater masters about the art of the actor” - A.P. Kovalev 16. “Aesthetic education in out-of-school institutions” - L.A. Sakharova, A.I. Shakhova - M. 1986 17. “Russian theater of the 19th century” - V.F. Fedorova M. 1983 18. “Russian folk theater of the late 19th - early 20th century” - G.A. Khaichenko M. 1975 19. Magazine “Vneshkolnik” - 2007, No. 4 20. Magazine “Vneshkolnik” - 2007, No. 5 21. “Give the children a holiday” - Postalaty V.K. 22. “Scenarios, competitions, quizzes” - M.A. Davydova, I.A. Agapova Khromykh Vera Vladimirovna Teacher of additional education

A fairy-tale performance on ecology for primary schoolchildren

Scenario of an environmental play for older preschoolers and junior schoolchildren “Forest Story”

For children 6-10 years old
AUTHOR: Elena Mikhailovna Alexandrova, Music Director of the Children's Kindergarten No. 4, Yasnogorsk, Tula Region Purpose. Formation in children of a consciously correct attitude towards those objects of nature that are next to them. Program content. • Formation of environmental awareness and culture of environmental management in children. • Formation of a person’s personality, his value orientation in the world around him. • Formation of a positive attitude towards nature. Tasks. • Introduce children to specific forest inhabitants: animals and plants. • Introduce children to plants listed in the Red Book. • Develop children's cognitive interest in the world around them. • Develop in children an emotional response to events happening around them. • Support children's initiative in choosing actions to convey an emotional state (image). The animals are sleeping in the clearing. Snoring is heard. Hedgehog. (Nose is bandaged.)
My poor nose... It hurts!
Bear. (The paw is bandaged.)
After all, someone will ask: “Where are you?”
Wolf. (Throat bandaged.)
I decided to drink some water in the stream, And who would know how much I harmed myself.
Fox. (Head is bandaged.)
And I have a broken head!
Where can we animals find peace in the forest? 2 hares. (They run in out of breath.)
We are now in a hurry to visit from the distant forest.
What kind of misfortunes and passions are haunting you? Hedgehog. My poor nose was looking for mushrooms. I found a jar and got stuck in it... A bear. And I dug roots in the ground. I hurt my paw with glass. Wolf. I swallowed about a dozen nails. They pierced my throat, I can’t stand it! Fox. And just like that, I was walking in the forest... And I ended up with my head in a teapot, I don’t know how! 1 hare Where is the bank from? Where did the glass come from? 2 hares And these nails and the teapot? Miracle! Little frog. (Appears holding a mouse.)
This is not a miracle, but people are simple.
Very large and short in stature. Little mouse. By the way, they are coming in a crowd... If only we could get away with you! Everyone runs away. A girl appears with a bouquet of lilies of the valley. Girl. I'll pick a bouquet of lilies of the valley in the forest. I’ll take a small miracle to the city. I’ll admire it, inhale the aroma... I’ll walk around to my heart’s content and I’ll sleep better! The Boy appears. A twig whips the bushes. Marching. Boy. I'm a little soldier - one, two, three! I need to be on guard - there are only enemies around. I will cut off the heads of my enemies, pierce them through with a sword! I will punish them severely, they will find out how much it costs. They'll find out what it costs! Grandma appears with a basket. Grandmother. Although I forgot the knife, I still have the basket with me. I’ll pick mushrooms now, I don’t need a store. Saffron milk caps and white mushrooms, honey mushrooms and boletus, quickly jump into the basket, guys! Grandfather appears with an axe. Grandfather. Here is a slender birch tree, it will come in handy on the farm! It's good to have an ax with you, less fiddling with it. One, two - only slivers fly to the sides! I'll cut some cubes for my guys! The Cat and the Dog appear in an embrace. Cat. We will catch all the birds, they are very tasty! With a dietary product, may our days continue! Dog. Eh, the little birds are funny, it won’t take long to sing songs... The two of us have to do this work - we won’t even have time to break a sweat! Cat and Dog are chasing birds. Girl and Boy. Did a great job! Grandfather and grandmother. It's time for everyone to rest. Cat and dog. Let's have a snack in the clearing . That's it. And hurry back! They sit down in the clearing. They are eating. Scattering garbage. Girl. Who is with a bouquet, Boy. Congratulations on victory, Grandma. Who is with a basket of flowers, Grandfather. The one with the birch tree, the Cat and the Dog. Anyone on a diet? All. A present for everyone in the forest is ready! They leave. Lesovichok appears - the Master of the Forest and the Hares with the Frog and the Mouse. Lesovichok. How beautiful our forest is, friends! How much wealth there is in it! Just what do I see? Who was naughty here, brothers? 1 hare All the grass was crushed, the bushes were chopped up. Priceless flowers were plucked from the Red Book. 2 hares The myceliums are all torn out, we can’t see any mushrooms... And where are the spring birds? You can't hear their songs. Little frog. There were people and animals with them. Little mouse. Let's teach them a lesson so they don't be like that! Lesovichok. I, the owner of the forest, became very angry! I will circle them around the forest until nightfall. Everyone is hiding. Lesovichok makes passes with his hands - he casts a spell. People and a Cat and a Dog appear. They walk, falling and wailing. Girl. I'm tired, I have no strength! I see the light of the sun is fading. Boy. Where can I lie down and lose myself in a dream? Did this have to happen?! Grandmother. Somehow this place is familiar to me... We are not far from home! Grandfather. (Picks up a can from the ground.)
What are you, woman, grinding in vain?
This jar is mine! Cat. This morning we came here... Dog. So where have we been going all day? Lesovichok. The morning is wiser than the evening, In the morning it will be more fun... Everyone lies down, falls asleep, snores, moans... Morning. In a semicircle, behind the sleeping people, all the forest animals stand. People wake up and see them. Embarrassed, they stand on the sides of the clearing. Hedgehog. My poor nose! Bear. How my paw hurts! Wolf. And there are nails in the throat... Fox. It hurts, woe! Girl. Forgive us, animals! Boy. We were so wrong... Grandma. We harmed you... Grandfather. And so - they paid... Cat. We'll clean everything up, Dog. And let's not forget the lesson. Cat and dog. And from now on we promise: Everything. “We will be good!” Everyone together collects the garbage into a large bag.
Girl, Boy, Grandmother and Grandfather sing the final song “Song of the Friends of the Forest” . Animals perform "Dance" . 1.The forest is our best friend!
He will feed and warm. So come on, guys, Let's be kinder to him. Chorus:
Let it grow and turn green, Let the animals frolic.
We will try to make the forest even more beautiful! 2. We will come to visit you. Or even work hard, because communication with nature will be useful to all of us. Chorus.

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Ecological theater at a preschool educational institution

Ecological theater at a preschool educational institution

Globe, for some you are a watermelon. They tear you into pieces and shred you with their teeth, For others you are just a ball, and, crowding, the players, They grab you, then they kick you.

The globe for me is not a watermelon or a ball. Globe, for me you are a dear face, I wipe away your tears - don’t cry, I wash away your blood and sing over you. Rasul Gamzatov

Scientists around the world consider environmental pollution to be the most important problem of the 21st century. Even in our small village, enterprises have been built that, in the opinion of my fellow villagers, pollute the air, soil and water.

But a lot depends on the residents themselves. Adults are outraged by the behavior of young people who mutilate trees, burn grass, throw garbage - this is a habit left over from childhood, because the main character traits are formed in preschool childhood.

That is why work on a consciously correct attitude towards natural phenomena and objects that surround the child must begin as early as possible, while using new approaches to educational activities. An effective way to master environmental culture is not only to transfer knowledge, but to form a way of thinking necessary to solve and predict existing problems.

Today's child is tomorrow's nature user. And it depends on us, adults, whether he will be a “reasonable user of nature” or an unreasonable “user” of nature.

In our MADOE we are constantly searching for new forms of work to form the beginnings of an environmental culture in children and the development of an environmental culture in adults. Much attention is paid to environmental protection activities.

Along with traditional forms of work, such as observations, conducting experiments, reading fiction on environmental topics, walks and excursions, game-based learning situations, environmental activities, teachers introduce children to environmental and natural history education through game-based pedagogical technologies that are based on the norms of universal morality. and social and creative activities, use environmental actions, projects, environmental theatrical performances.

The educational possibilities of theatrical activities are enormous: its topics are not limited and can satisfy any interests and desires of the child. By participating in it, our children get acquainted with the world around them in all its diversity - through images, colors, sounds, music, and skillfully posed questions encourage them to think, analyze, draw conclusions and generalizations.

In the process of working on the expressiveness of characters’ remarks and their own statements, the child’s vocabulary is activated and the sound culture of speech is improved. Therefore, it is theatrical activities that allow us to solve many pedagogical problems related to the formation of expressive speech of an intellectual child. artistic, aesthetic and environmental education. It is an inexhaustible source of development of feelings, experiences and emotional discoveries, a way of becoming familiar with spiritual wealth. As a result, the child learns about the world with his mind and heart, expressing his attitude towards good and evil; learns the joy associated with overcoming communication difficulties and self-doubt. B. M. Teplov wrote that “in the process of empathy, certain relationships and moral assessments are created that have incomparably greater coercive power than assessments simply communicated and assimilated.” Getting used to the theatrical role, empathizing with his hero, the child feels from the inside that he is part of the big world, including the natural world.

The priority direction of the work of our MADO is the creative development of preschool children and the creation of a favorable emotional environment for their comprehensive development. Therefore, theatrical activity is one of the most effective ways to implement the tasks assigned to the team. For many years we have been working on theatrical productions in children's and adult theaters. And last year, which was declared the year of environmental protection, we came up with an idea: to combine ecology and theater. Teachers together with children prepared theatrical performances on environmental topics. As a result, this idea turned out to be a real ecological theater, in which adults and children took part.

Target

We see this work in the formation of an ecological worldview and an active life position of the younger generation, the development of a sense of collectivism, responsibility, and the formation of experience of moral behavior.

Ecological theater, along with others, also carries a serious educational goal: to explain to children the need to take care of the pristine purity of nature, to show the ugliness of consumer recreation and the pointlessness of industries that pollute everything around them.

We have set the following tasks for the work of the ecological theater:

• improving the forms and increasing the effectiveness of environmental education;
• development of children's creative abilities;
• involving children in active environmental activities;
• attracting public attention to environmental problems.

In our opinion, environmental theater is not one random performance per year, it is a system of work that includes educational, cognitive and activity components, implemented in close cooperation by all subjects of continuous environmental education: from authorities to educational institutions, culture and social activists.

I think that the importance of environmental theater is very great. Theater teaches you to think, feel, and act in images. Through the means of theater you can not only reveal the personality of a child, but also educate him. To cultivate, first of all, a love for nature, active, and not abstract and abstract.

Theatrical art, as a method of involving children in active environmental activities, allows us to use such inherent qualities of children as the desire to imitate, the love of dressing up and the desire to communicate with peers.

Dramatizing environmental information allows preschoolers to better understand and remember its essence. Ecological scenes and miniatures evoke simple human feelings in our children: compassion, the desire to help, the need to act. Our ecological theater fosters citizenship in both actors and spectators.

As a form of environmental education, environmental performance, in many cases, is more effective than a traditional method such as conversation. The performance can attract audiences of any age; the performances are easily perceived and remembered.

By drawing the public's attention to a certain environmental problem, the performances do not leave the audience with a feeling of hopelessness, but instill hope and optimism, because I survived because I laughed. Undoubtedly, environmental theater is a real force in promoting environmental knowledge.

How did we stage an environmental performance?

1. Selection of material for an environmental performance.

Before we set out to create an environmental performance, we decided three questions for ourselves: WHAT? HOW? and IN THE NAME OF WHAT?

WHAT?

– looked for topics in magazines, the Internet, books about the theater, in newspapers, followed the information. Topics must be relevant.

HOW?

– went to the theaters, watched television KVNs, invent “cabbage shows” yourself. There are many genres: literary and musical compositions, parodies, reviews, tableaux vivants, plays.

IN THE NAME OF WHAT?

– everyone chooses for themselves. Sometimes a performance is staged simply “to decorate” an event. Such theater is not always viable. If you are interested yourself, there are more chances. But the most important goal is environmental education of the population. If you choose this goal, your children's team will achieve success.

When the material for staging a play has been found, the director, and in our case this is a creative group of teachers, must first of all work it out thoroughly themselves. This could be a play created by you, or a finished work by another talented author, in which you need to make your own amendments, taking into account the specific conditions of the MADO, the skills of the artists, and the interests of the audience. Often we choose fairy tales familiar to children and compose them in a new way, based on the main content. Thus, scripts were developed for the environmental fairy tales of the children's theater “The Scarlet Flower”, “The Nightingale”, “Sea Voyage”, “The Generous Hare”, the opera “Spring”, the folklore performance “On Kuzma, Demyan”, the adult theater “Turnip”, “Morozko” ", "Kolobok", puppet reed theater "At the command of the pike".

Teacher-directors play a significant role in our theater. In the hustle and bustle of everyday life, we often forget about our mission. When working with children, we must remember that we are educating the elite of tomorrow's society. Morality, love, kindness are the eternal laws by which children must be raised. Therefore, every lesson and rehearsal should be a fascinating journey into the world of environmental knowledge, into the world of living nature, every creative meeting is a lesson in admiring the world of natural beauty, a lesson in learning the laws of life, a lesson in forming the consciousness of the creator.

It is also necessary to remember that in the play the most important person on stage is the child actor! In preparing a performance, the main thing for the teacher is the soul of the child, the formation in it of a caring attitude towards all life on Earth. How the child plays his role is also important. If he “grimaces” on stage, it means he doesn’t believe in what he’s doing, it means his soul has remained deaf, and there will be no sense in this action.

From personal experience, we know that it is especially important for environmental performances to come up with an original beginning that can immediately attract the attention of the public. Most often we use music or song. An unsuccessful start - a presentation of facts in an announcer's style, a long text. It is unacceptable to end a performance with the thought “Everything is bad. An environmental disaster is inevitable. We will all die! We leave the viewer with hope for the best and convince him that disaster can be avoided if we all stand together to protect nature.

The most important component of a successful theatrical performance is the competent weaving of musical material (instrumental, vocal, various noises) into the dramatic outline. And this is understandable: musical sound carries a lot of information and is capable of not only more fully revealing a particular stage image, but also enhancing the desired effect from a certain scene, from the entire performance as a whole. That is why the musical directors of MADOU are the main players in the preparation of performances. Already at the first reading of the script, we outline the musical score of the play (we note the climactic moments of the scenes, the entire performance as a whole, we outline the “singing” characters, we write roles for them).

Music is a powerful means of influencing the viewer, but it should not be used to avoid boredom. You should play interestingly, and music should only enhance the acting work.

1. Selection of the cast.

Practice has shown that the most convenient option for us is to make a theater out of children from one group. These will be children of the same age, with the same routine, and familiar with each other. There are also disadvantages: children from one group may turn out to be “non-singing”, if you decide to take all the children in the group, will you find roles for everyone. Everything is solvable. We are not too worried about children’s singing skills: in preschool institutions there are no soloists of large and small theaters, “sing as you can”, the main thing is that the child’s individuality is revealed and the artist’s creative initiative is revealed. Working with a whole group of children can make it difficult to find roles and repertoire for everyone. We think through the action so that all the children are involved in the performance: trees, flowers, a river - inanimate objects in the preschool theater come to life, dance, sing, and dance in circles. Every role, even the smallest one, is very important for a child, because everyone wants to be an artist, how can you deprive him of this. This approach to the selection of actors gives us the opportunity to create very friendly, efficient and devoted to the “ecological idea” teams, although we have to spend more time on vocal, plastic and other activities.

Of course, the option of a “mixed composition” is also possible: of different ages or of the same age, but from different groups. This will give you the opportunity to attract the most talented children: musicians, vocalists, plastically gifted children. Performances performed by such children will be more professional.

For adult theater, we select actors already during the writing of the script, since each role is written for a specific person, taking into account his abilities, character traits, and personal characteristics. Of course, there are people without whom staging performances is inconceivable, they are almost real artists in our team, but we try to involve all MADOU teachers in the action, everyone at some point gets a role suitable for them.

1. Production of costumes, scenery, attributes.

The entire kindergarten team along with parents takes part in this interesting and complex activity. We collect scenery suitable for the stage from all over the world, sew and alter costumes. Preparing for a new performance is a good opportunity to get rid of unnecessary things at home. We need everything: large curtains to decorate the central wall, grandmother's dresses for ancient costumes, an old shawl and sweatshirt for Baba Yaga, a sun-bleached hat and a vest embroidered with fir cones for Lesovich, a torn straw hat and a string bag for the Queen of Garbage, beads, necklaces, brooches, old jewelry for the Princess, a wedding dress for the Queen of Purity and so on. It was interesting to collect costume and decoration material for the Chinese fairy tale with environmental overtones “The Nightingale”. We collected 16 satin women's robes for the kimonos of the courtiers, made shoes from bricks of building material, and made the unique hairstyles of the Chinese nobles from black woolen tights, sewing them into hats with a ball pierced crosswise with simple pencils.

The process of preparing costumes and sets is very exciting. It is necessary to encourage children to work at this stage. Together with them, prepare attributes from waste material, thereby solving the environmental problem of recycling waste and unnecessary things.

1. Rehearsal process.

Before we begin rehearsals, we reproduce the script; each participant must have their own copy. Copying your words from one copy slows down the production of the play.

The stages of the rehearsal process have the following sequence:

— reading the script and distribution of roles;

- table rehearsals (emphases and logical stresses are placed in

text, participants remember the script);

— rehearsals for scenes, episodes (individual miniatures are worked out until

full readiness);

— run-throughs (summary rehearsals);

- dress rehearsals (when the props, scenery,

music);

- show (handover of the performance).

The rehearsal process should not be delayed. Long preparations for the performance cool the creative spirit of the actors, the preparation process bores them, sets them up for slow work, and by the time of the premiere the actors may lose their courage.

During rehearsals, the shortcomings of the script are revealed, new solutions for this or that scene come to mind, and often the children themselves come up with unexpected and original moves and lines. We discuss and discuss all options together, choose the most optimal one, and eliminate errors.

The uniqueness of the environmental performance lies in the fact that each child, playing his role, can feel absolute involvement in the problems of protecting nature from illiterate use of it. Being a flower in a dirty, littered clearing, a child understands how scary it is to find himself in such a situation, it is impossible for fish children to live in a polluted pond, the songbird Nightingale cannot sing in captivity, and flowers and birds frozen by an angry Santa Claus will never be able to delight us with their beauty and singing. In the ecological theater, the ideas of a humanitarian approach to ecology are put into practice, introducing the developing personality to culture not only and not so much to the material, but to the value-semantic and spiritual-moral one.

We prepare programs and posters especially for our environmental performances (like in a real theater). They are made by the children themselves, who happily draw pictures about protecting nature, and we design the information content.

1. Performance.

Well, finally the premiere! Bustle, work noise, changing clothes

costumes, final touches in preparing the scenery. There are many guests in the hall: our children from different groups, parents, friends, colleagues. We are worried... The first chords of the melody sound and the performance begins. Then, after some time, everyone will congratulate us on a wonderful performance, on successfully played roles, children will discuss important environmental problems raised in the play, empathizing with the characters, draw pictures, and replay memorable scenes. And now we have a great responsibility - to convey to the audience, using the expressive means of theater, the important idea that we all came from nature and are an integral part of it, its children, who need to protect and care for their mother.

1. Conclusion.

In the course of our work to develop an ecological culture in children through theatrical activities, a consciously correct attitude towards nature began to appear in their deeds and actions. Children began to show active interest in her, their questions were “Why?” and for what?" express the desire to penetrate into the essence of the cognizable object, an emotional and practical response to the surrounding nature has developed.

In conclusion, I would like to emphasize once again that environmental theater is a new direction in the work of the kindergarten. This means that new opportunities for creative search are opening up for the team, the result of which is not only new productions, but, above all, new knowledge about our common home in which we live, about the interdependence of man and nature. To perform an environmental performance or fairy tale on stage requires environmental knowledge, the ability to get used to the role, the ability to formulate an idea, and the desire to convey it to others.

Theatrical activities and games help the child feel involved in nature and responsible for it, which is the beginning of the ecological culture of preschoolers.

Our main goal is to help a child acquire the status of an environmentally educated person, whose commandment will be the words:

“I may be small, but I am infinitely strong, because

that there are many creatures in the world smaller and weaker than me, and

you can do them good, at least by passing

past, without touching, without touching"

E. Leonov

Ecological play Kolobok for primary school children. Scenario

Script for the environmental play “Kolobok” for children of primary school age
Author: Alla Alekseevna Kondratyeva Place of work: primary school teacher of the highest category MBOU “Zolotukhinskaya Secondary School” Zolotukhino settlement, Kursk region
Script for the environmental play “Kolobok”
Description of the material : I offer you a script for an environmental fairy tale, production which can be used for participation in a school theater festival, in an environmental festival by primary school teachers with children aged 6-10 years. Goal : Revealing children's talents and creative abilities. Objectives : To teach the difference between good and evil using the example of a fairy tale plot. Development of positive emotions and acting abilities. Cultivate interest in fairy tales, love of reading, respect for nature. Progress of the performance.

1 buffoon Gather together, good people! The show will be here! 2 buffoon Hello, dear guests, And you, dear hosts! 1 buffoon I wish you health and good luck, Patience and joy to boot! Would you like to listen to a fairy tale? And where to listen and watch. But our fairy tale is not simple. At least everyone knows this. 2 buffoon Guess the riddle: Rolled without looking back Through the field and the forest Our ruddy... (Kolobok) Grandfather Do you see the smoke coming from the chimney? That old woman is a bun. She'll bake it for me today. I scraped the plots, I swept the brooms around the barns - exactly on the bun. I found torment there. And then she kept singing in the morning: “Grandfather, she’s dumb, dumb...” Well, what a smell! An old woman appears. Old woman That's it. Ready. I baked it. Need to cool now.

Grandfather A is good, but handsome! I would have eaten it! Old woman. No, don't touch it! Grandfather I won’t touch you, don’t be afraid. And he’s poor, and he’s ruddy... He’s armless, unlucky! Stop! Where are you going? Wait a minute!

Old woman Well, hold him, hold him! Grandfather Oh, catch him, catch him! It's no use, we won't catch up! Mother's strength is no longer the same... Old woman What, you jumped, you devil?! I told you, don’t touch it! Grandfather What should I do? Can he come back? He'll take a walk and come back. Old woman No, old man, he won’t come back... Look how good he is! Grandfather Okay, grandma, don't worry! Don't cry, for God's sake. Oh-ho-ho... Let's go home. Buffoons run onto the stage

1 buffoon The grandmother is crying, the grandfather is crying, There is no sign of Kolobok. 2 buffoon Rolled along the path, The frisky legs won’t catch up. 1 buffoon Rolled without looking back - Only his heels sparkled - Through the field and the forest Our ruddy little bun. 2 buffoon It’s not soon that the fairy tale is told, but soon the main thing happens. Hare (His paws and head are bandaged). Oh-oh-oh... God forbid... What is that delicious smell?

Kolobok? So let's eat! Stop! Don `t move! Oh-oh-oh... (Moans.) Kolobok What are you doing, oblique? And beaten and lame...

Hare Please don't call me names! Do you know who the scythe is? Kolobok Isn't it me? Hare No, not you! There are people like us, who were relaxing here yesterday, and then took aim and shot at the bushes with empty bottles. And I was just lying under a bush - Well, I was having a cultural rest. Kolobok What a problem! What then? Hare What? You won't even believe it! Garbage, dirt, fragments, cans, Cellophane, paper, bottles, you have to think about it! Were these people?! After all, the animals will get hurt, the foolish guys. Move on, friend, warn everyone around you. 1 buffoon Our rosy little bun rolled without looking back, And towards him came the Wolf.

Kolobok Hello, gray! Al not happy? You can barely drag your feet. Are you worried? Wolf That's right, Kolobok, Round and ruddy side. I was playful and cheerful, I was never hungry. I got food myself, quickly ran through the forests. And then I contacted him. Kolobok. With whom? Wolf Yes, I stole a sheep... And that lamb walked through the meadows and fields. And the grass in those fields is watered from an airplane, Herbicides, pesticides are treated with something. In general, the chemistry is the same! Kolobok Well, then what? Wolf All you need is “what, what?”! I ate that lamb, gnawed it all - and now... My stomach swells, my paws curl, my teeth clench, my skull rips. That's it - I need to get treatment. In the clearing further there is Herb that I need to eat Medicinal! Kolobok Get well soon, Wolf! From now on you will be smarter. Be careful in the clearing: There are bottles, jars, flasks. Don't cut your paws! Wolf Thank you, round side. Well, go ahead and be healthy! Kolobok. And health to you too! What's going on! Oh my God! 2 buffoon The bun rolled. He already helped the wolf - There’s no shame in helping. Look, here comes... A bear. Kolobok Hello, General Misha! Are you also sick? Bear Hello, hello, Kolobok, Round and ruddy side! I, my friend, am not sick. I'm in my native forest I almost got burned alive, brother. Kolobok How did this happen, Misha? The rule you need to know is that bears are not allowed to play in the forest with matches. Bear Not me! Am I stupid to play around with matches? A mushroom picker walked by, threw a cigarette butt - I have no mind to put it out! The forest burst into flames, the dead wood crackled - I barely carried my feet away. But I wanted to build a den... Yes, you can’t argue with trouble. I feel sorry for the birds, I feel sorry for the squirrels, and the hedgehogs... What a disaster! Kolobok Oh-oh-oh! What a disaster! How can I help such grief? And in the neighboring village, under the big branchy fir tree, won’t you find a place? Bear What are you talking about, rosy side? No splinter: chopped up! There are no Christmas trees either: they cut them down! What kind of people are I, I don’t understand? They sow only one misfortune. Well, happily, Kolobok! Don't be bored and be healthy!

Kolobok Oh-oh-oh! Yes, what can I say? 1 buffoon What are you doing? 2 buffoons Do you feel sorry for the animals? 1 buffoon We must not, brother, lose heart! Let's continue the fairy tale. 2 buffoon Kolobok rolled. The breeze is blowing at your back. Well, roll if you can’t sit. Look, a fox is running here.

Kolobok Bah! Fox! What a miracle! Where are you going in a hurry? Don't even look at me! Didn't you recognize me? I'm a bun - look here! And I scraped the box, I swept it across the barn, I mixed it with sour cream, I cooled it at the window. And he left his grandmother, and he left his grandfather. What a cheat! It gives! Koloboka doesn't recognize

Lisa Kolobkov no longer eats: I’m on a diet now. I would have eaten you up long ago, but I’m afraid of gaining too much weight. Have you ever been to the village store? Have you seen a chicken there? There were no birds in the forest at all, and I was a little hungry. Kolobok himself has never been to the village store, but from his grandmother he heard a conversation between her and her neighbor, saying that they had been lying on the counter in the “Bush Legs” shop for a year. Fox Are you kidding me?! How is this possible? It's not even possible to eat them! There is no smell, no taste - Don’t ruin my soul! Every day the forest is getting worse, even the puddles have been poisoned. It's scary to drink water in the river - There is no life for animals anywhere! Kolobok No, it was not in vain that I took this walk! A fox without birds, and land without water. Less and less surrounding nature, More and more environment! All the participants in the performance come out

Hare How scary it is - the extinction of a species, one and all, every single one, when devastated nature is no longer able to do anything! Wolf And the leprosy of desolation will creep in, And the threads of water will dry up, And the birds will die out, and the plants will fall, And the beast will not escape its misfortune. Bear And no matter how much self-interest you seek here, No matter what excuse you have, the Earth requires protection, protection, She asks people for salvation!

The performance ends with a repetition of the rules of forest politeness

We recommend watching:

Ecological fairy tale for children 6-9 years old Fairy tale Kolobok in a new way Creative works of students in Russian language and literature, grades 4-6 Fairy tale for children 8 - 11 years old. Stone magic

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