Theater is a great way to improve your inner world. It is a reflection of our reality, and therefore in the best way helps to look at one’s own “I” from the outside, finding it in all the variety of images and phenomena. This can only be done through a deep knowledge of the essence of stagecraft, the basics of which will help.
The first step on the path to self-discovery is considered to be familiarity with the genres and types of theatrical art. Below we will talk about the features and differences of the most popular genres, most of which each of them actively works with, including ours.
Types of theatrical art
- Vaudeville. It is a type of light comedy play. The birthplace of this genre is Normandy. In vaudeville they use light, satirical couplets that ridicule minor human vices: greed, ill will, and so on. Since rudeness and assertiveness are unacceptable in this genre, all actions are of an emphatically soft nature.
- Buffoonery. This is a performance of a comic, caricatured nature, in which the main characters must necessarily be several Harlequins. The buffoonery is based on folk techniques, so the performance always takes place on the square. Ridiculing human shortcomings is carried out by constantly exaggerating the negative aspects.
- Comedy. This is a genre that is used quite often, and which the audience always likes. Comedies are light in nature, and the main goal of the action is the response of the viewer to smile. In comedy performances they make fun of negative traits character and habits, as well as funny life situations.
- Drama. It is an intermediate link between tragedy and comedy. Dramatic performances highlight all sorts of conflicts between the individual and the world around him or with his own self. Due to the seriousness of the content, the more complex structure of the characters' characters and the more confusing storyline Dramatic performances are one of the favorite genres of the viewer and director.
- Melodrama. This is a play aimed at revealing the hero's sensory world. The play necessarily contains acute intrigue, the revelation of which usually occurs towards the end of the story.
- Tragedy. Performances of this genre are based on a catastrophic outcome, the reason for which is that the main character goes against his own world, collapsing the usual foundations and rules. The struggle lasts throughout the entire performance, and at the end of the drama the hero dies. Most of tragedies are written in verses in which reality is depicted in particularly harsh colors.
- Musical. A very complex and expensive genre to stage. The performance is based on the refinement of acting skills. The actors strive to convey the main idea to the audience using choreography, songs and dialogues.
We have listed only some of the genres that can be used to stage performances and train students. Having comprehended the basis of each of the listed types, you will be able to look at the world with different eyes, giving an objective assessment of everything that happens around you, not only as the main participant in the events, but also as an outside observer.
Don't lose it. Subscribe and receive a link to the article in your email.
To achieve your goals, you need to constantly work on yourself, that is, develop yourself in many ways. It is possible to reveal the creative self not only through literature, music and painting, but also by studying the intricacies of stagecraft, where the first step is familiarity with the types and genres of theatrical art.
Theater is a school of life: amazing, emotional and inspiring. Theatrical art is a mirror of our life. Theater, through dramatic actions, illuminates the world for us, conducting a dialogue with us through heart to heart, soul to soul, eye to eye.
What genres are there?
Today we want to present to your attention not only the most popular genres that the theater lives in, but also show their differences.
Buffoonery(from the Italian words “buffonata", which means "buffoonery) is a comic performance (comic acting), the actions of which take place, as a rule, in squares. The genre is based on folk techniques, where the main character is “Harlequin”, and not just one, not two, but a whole troupe of similar characters. The entire performance is based on caricaturing, that is, a sharp exaggeration of a character’s character traits or phenomena of reality.
Vaudeville (from French "val de Vire"means Vir Valley) is a genre that takes its name from the River Vir (Normandy). Vaudeville is a light, comedic play with couplets; humorous, mocking - satirical songs that make fun of minor violations social norms(not hospitality, hostility in neighborly relations). Feature of the genre: comedy wrestling should be soft - this genre does not allow harshness in any form.
Drama (from Greek "drama" means "action") is a stage genre that illuminates social conflicts a person with society or with himself. Drama is not yet a tragedy, but it is no longer a comedy, but something in between. It differs from all other genres in its more serious content; here the characters are more complex, and the plot is much more “weighty and intricate” than those depicted in comedies.
Comedy (the birthplace of the genre is Ancient Greece, the literal translation is “song") is a genre in which the plot is structured so that the viewer's response is smiles or laughter. Goal: to make fun of people’s vices, their characters, misconceptions, and funny life situations. Watching such a performance is quite easy, both due to the satire and the simplicity of the plot and characters.
Melodrama(from Greekmelos - “music”, drama - “action”)- a genre of theatrical art (a play with acute intrigue), revealing the sensory world of the hero - reflecting the internal struggle of good and evil.
Mime (from Greek means “imitation”)- short comedic, entertaining improvised skits.
Morality(from lat.moralis– moral)- dramatic performances in the Middle Ages, characters which are not people themselves, but abstract, abstract concepts (for example: virtue, vice).
Musical (English)Musical frommusic- music) is a musical genre. Here, an important role is played by choreography (it is distinguished by the special refinement of the acting actions), and the constituent elements of this genre are: music, song, dialogue. This genre is very complex in terms of production and at the same time very expensive (due to special effects).
Parody- originated in antiquity. literature (the play is a mockery). The goal is to create a comic effect by repeating the unique features of the characters, their manners, style of speech, and behavior. This genre has become widespread not only in the theater, but also on the stage.
Pastoral(from Frenchpastoraletranslated as “rural”) is a theatrical genre (opera or ballet) that reveals simple pastoral, rural life.
Tragedy- from Greek literally translated as “song of the goat” (“tragos” - goat, “ode” - song). The genre is based on a catastrophic outcome. Main character is a person who goes against himself and society, destroying established rules and foundations. The hero (artist) fights throughout the entire performance, and dies in the finale. Most tragedies are written in verse; they reflect reality in a harsh, poignant, serious way.
Farce(French)Farse- a rude joke, a shocking prank)- comic genre of medieval theater. A comedy of simple content (entertaining skits shown by actors in masks). As a rule, urban life is depicted with all its dark sides (scandalousness, rudeness, drunkenness).
Extravaganza(from French.fee) - sorceress, fairy. To convey to the viewer the completeness of the plot, a certain magic is used, which is created through colorful and unusual scenery, costumes of the characters, stunts and special effects.
Fliaki (from Greekphlyax- joke)– theatrical performances in Ancient Greece in the form of short joke scenes taken from Everyday life about the adventures of heroes and gods.
Thanks to the existing variety of types and genres of theatrical art, a person goes to the theater and truly discovers it for himself - to become a devoted viewer. The theater always appears before us as bright, heartfelt, deep and bewitching, and that’s why we love it.
The art of theater, compared to other types of art, is a living art. And this is its undeniable advantage.
Theater does not stand still, it develops, new genres appear, sometimes it is difficult to keep track of them, and sometimes you completely forget about the existence of old classic versions.
So that you do not get confused in the variety of theaters, we provide a general classification.
Author's theater
Author's theater implies belonging to a single artistic director, whose ideas it transmits to the public. These include the Gogol Center, the Roman Viktyuk Theater, the Kirill Ganin Conceptual Theater and others.
Drama Theater
The basis of a dramatic performance is a literary work. Drama not only involves expressing thoughts and emotions through words and facial expressions, but it can also involve song and dance.
Comedy Theater
The name speaks for itself. In such theaters, the lion's share of the repertoire is occupied by comedies, both based on classical literary works and modern plays.
Puppet show
Contrary to popular belief, puppet show puts on performances not only for children. They often have performances for adults too. There are no actors on stage, but there are puppets and those who control them. There are also hybrid shows where characters played by people interact with puppets.
Ice shows
Figure skaters take part in the ice show. Usually, the plot of a famous work is set to music. These events use a lot of special effects. The most popular shows in Russia are produced by Ilya Averbukh’s company.
Musical Theatre
Musical theaters offer audiences performances based on singing and dancing. Musicals and operettas are usually shown here. Such performances are distinguished by a bright and memorable presentation designed to entertain.
Street theater
Street theater is street because its action takes place in the open air. Main point in such performances there is improvisation. Such performances are often subject to interference from the audience because there is no clear boundary between them and the actors. Because of this, street theater performances are often experimental in nature.
Buffoonery
Performances in the Buff theaters are based on the grotesque, a sharp exaggeration of character traits, some actions or phenomena. All this leads to a satirical effect. Buffoonery has its roots in the Italian square commedia dell'arte.
National Theater
National theaters imply styles and solutions that can only be seen in one country. Such ideas have not received widespread worldwide distribution. Such theaters can easily include the Japanese Noo and Kabuki, the Malaysian Mak Yong, the Thai Khon Mask Theater and others.
Opera and Ballet Theatre
Opera and ballet theaters only host performances of these genres and classical music concerts. The architecture of such theaters is specifically designed for them. The most famous in Russia are the Bolshoi Theater in Moscow and the Mariinsky Theater in St. Petersburg.
Theater for Young Spectators
The Theater for Young Spectators bears its name for a reason; its audience really is children, teenagers and young people. The repertoire is based on the age of the audience. Although some theaters sometimes allow themselves to stage performances for adults.
Shadow play
For shadow theater performances, a large translucent screen and puppets are used. This genre originated in China, but quickly spread throughout the world.
Immersive theater
Immersive theater is a very recently emerging genre. It is based on the complete immersion of the viewer into the world of the production. The only rule is to remain silent and keep your mask on. You can't see such performances everywhere. So far they are taking place in New York, Moscow and St. Petersburg.
One actor theater
Quite self-explanatory name- in such productions only one person actually participates. Sometimes the performance takes place as a monologue of one character, and sometimes the actor has to transform into different characters.
Satire Theater
Satirical plays that ridicule public and personal vices are staged in satire theaters. Since this is a fairly common genre in literature, such theaters have no shortage of plays.
Underwater theater
The underwater theater combines scuba diving and... ballet. The idea of this type of art originated in Russia. The duration of the performances is only 40 minutes. The actors hold their breath for 3-4 minutes and come up for air in those parts of the pool that are not visible to the audience.
Theater (Greek θέατρον - the main meaning is a place for spectacles, then - spectacle, from θεάομαι - I look, I see) is a spectacular form of art, which is a synthesis of various arts - literature, music, choreography, vocals, visual arts and others and has its own specificity: the reflection of reality, conflicts, characters, as well as their interpretation and evaluation, the affirmation of certain ideas here occurs through dramatic action, the main bearer of which is the actor.
The generic concept of “theater” includes its various types: drama theater, opera, ballet, puppet theater, pantomime theater, etc.
At all times, theater has been a collective art; In a modern theater, in addition to the actors and the director (conductor, choreographer), the creation of a performance involves a set designer, composer, choreographer, as well as prop makers, costume designers, make-up artists, stagehands, and lighting technicians.
The development of theater has always been inseparable from the development of society and the state of culture as a whole - its flourishing or decline, the predominance of certain artistic trends in the theater and its role in the spiritual life of the country were associated with the peculiarities of social development.
THEATER (from the Greek theatron - place for spectacle, spectacle), the main type of entertainment art. The generic concept of theater is divided into types of theatrical art: drama theater, opera, ballet, pantomime theater, etc. The origin of the term is associated with the ancient Greek theater, where the seats in the auditorium were called this way (from the Greek verb “theaomai” - I look). However, today the meaning of this term is extremely diverse. It is additionally used in the following cases:
1. A theater is a building specially built or adapted for showing performances (“The theater is already full, the boxes are shining” by A.S. Pushkin).
2. An institution, an enterprise engaged in showing performances, as well as the entire team of its employees, providing rental of theatrical performances (Mossovet Theater; tours of the Taganka Theater, etc.).
3. A set of dramatic or stage works, structured according to one principle or another (Chekhov’s theater, Renaissance theater, Japanese theater, Mark Zakharov’s theater, etc.).
4. In an outdated meaning (preserved only in theatrical professional argot) - stage, stage (“Noble poverty is good only in the theater” by A.N. Ostrovsky).
5. B figurative meaning– the place of any ongoing events (theater of military operations, anatomical theater).
Like any other form of art (music, painting, literature), theater has its own special characteristics. This is a synthetic art: a theatrical work (performance) consists of the text of the play, the work of the director, actor, artist and composer. In opera and ballet, music plays a decisive role.
Theater is a collective art. A performance is the result of the activities of many people, not only those who appear on stage, but also those who sew costumes, make props, set up lighting, and greet the audience. It is not for nothing that there is a definition of “theatre workshop workers”: a performance is both creativity and production.
The theater offers its own way of understanding the world around us and, accordingly, its own set of artistic means. A performance is both a special action played out in the space of the stage and a special imaginative thinking, different from, say, music.
A theatrical performance is based on a text, such as a play for a dramatic performance. Even in those stage productions where there is no word as such, text is sometimes necessary; in particular, ballet, and sometimes pantomime, has a script - a libretto. The process of working on a performance consists of transferring the dramatic text onto the stage - this is a kind of “translation” from one language to another. As a result, the literary word becomes a stage word.
The first thing the audience sees after the curtain opens (or rises) is the stage space in which the scenery is placed. They indicate the place of action, historical time, and reflect the national color. With the help of spatial constructions, you can even convey the mood of the characters (for example, in an episode of the hero’s suffering, plunge the scene into darkness or cover its backdrop with black). During the action, with the help of a special technique, the scenery is changed: day is turned into night, winter into summer, the street into a room. This technique developed along with the scientific thought of mankind. Lifting mechanisms, shields and hatches, which in ancient times were operated manually, are now raised and lowered electronically. Candles and gas lamps have been replaced by electric lamps; Lasers are also often used.
Even in antiquity, two types of stage and auditorium were formed: a box stage and an amphitheater stage. The box stage provides tiers and stalls, and the amphitheater stage is surrounded by spectators on three sides. Now both types are used in the world. Modern technology makes it possible to change the theatrical space - to arrange a platform in the middle of the auditorium, seat the viewer on the stage, and perform the performance in the hall. Great importance has always been attached to the theater building. Theaters were usually built in the central square of the city; architects wanted the buildings to be beautiful and attract attention. Coming to the theater, the viewer detaches himself from everyday life, as if rising above reality. Therefore, it is no coincidence that a staircase decorated with mirrors often leads into the hall.
Music helps enhance the emotional impact of a dramatic performance. Sometimes it sounds not only during the action, but also during the intermission - to maintain the interest of the public. The main person in the play is the actor. The viewer sees in front of him a person who has mysteriously turned into an artistic image - a unique work of art. Of course, the work of art is not the performer himself, but his role. She is the creation of an actor, created by voice, nerves and something intangible - spirit, soul. In order for the action on stage to be perceived as integral, it is necessary to organize it thoughtfully and consistently. These duties in modern theater are performed by the director. Of course, a lot depends on the talent of the actors in the play, but nevertheless they are subordinate to the will of the leader - the director. People, like many centuries ago, come to the theater. The text of the plays sounds from the stage, transformed by the forces and feelings of the performers. The artists conduct their own dialogue - and not only verbal. This is a conversation of gestures, postures, glances and facial expressions. The imagination of the decorative artist, with the help of color, light, and architectural structures on the stage, makes the stage space “speak.” And everything together is enclosed within the strict framework of the director’s plan, which gives the heterogeneous elements completeness and integrity.
The viewer consciously (and sometimes unconsciously, as if against his will) evaluates the acting and direction, the compliance of the solution of the theatrical space with the general design. But the main thing is that he, the viewer, becomes familiar with art, unlike others, created here and now. By comprehending the meaning of the performance, he comprehends the meaning of life. The history of the theater continues.
Types and genres of theatrical art
VAUDEVILLE is a type of sitcom with verse songs and dances. Originated in France; With early XIX V. received pan-European distribution. The best works are characterized by playful fun and a topical reflection of reality.
DRAMA is one of the leading genres of drama, starting from the Enlightenment, in which the world is depicted real person in his acutely conflictual, but not hopeless relationship with society or himself. In the 20th century The drama was distinguished by serious content, reflected various aspects of human life and society, and explored human psychology.
COMEDY is a type of drama in which the action and characters are interpreted in comic forms. Like tragedy, it was born in Ancient Greece from rituals that accompanied processions in honor of the god Dionysus. The comedy, soberly exploring human nature, ridiculed the vices and misconceptions of people. The best examples of this genre are distinguished by their uncompromising analysis, sharpness and courage in ridiculing the vices of society. Different countries have developed their own versions of comedy. The “scientific” comedy of Italian humanists and the Spanish comedy of Lope de Vega and Calderon, the English comedy of the Renaissance, the French classicist comedy of the Enlightenment, and the Russian realistic comedy are well known. According to the principle of organization of action, a comedy of characters, situations, and ideas is distinguished. According to the type of plots, comedies can be everyday and lyrical, and according to the nature of the comic - humorous, satirical.
MELODRAMA is a play with acute intrigue, exaggerated emotionality, a sharp contrast between good and evil, and a moral and instructive tendency. Originated in late XVII V. in France, in Russia - in the 20s. XIX century
MIM is a comedy genre in ancient folk theater, short improvisational skits of a satirical and entertaining nature.
OPERA is a genre of musical and dramatic art in which the content is embodied by means of musical dramaturgy, mainly through vocal music. The literary basis of the opera is the libretto. This musical genre combines poetry and dramatic art, vocal and instrumental music, facial expressions, dancing, painting, scenery and costumes into a single whole.
MYSTERY is a genre of medieval Western European religious theater. Mysteries were presented in city squares. Religious scenes alternated with interludes.
MONODRAMA is a dramatic work performed by one actor.
MORALITE - a genre of Western European theater of the 15th-16th centuries, an edifying allegorical drama, the characters of which personified various virtues and vices.
MUSICAL - a musical and stage work, mainly of a comedic nature, which uses the means of pop and everyday music, dramatic, choreographic and operatic arts, the genre was formed in the USA in late XIX V.
PARODY - 1) a genre in the theater, on the stage, a conscious imitation for satirical, ironic and humorous purposes of an individual manner, style, stereotypes of speech and behavior; 2) a distorted likeness of something.
PASTORAL - an opera, pantomime or ballet, the plot of which is associated with an idealized depiction of pastoral life.
SOTI is a comedy-satirical genre of French theater of the 15th-17th centuries, a type of farce.
TRAGEDY (translated from Greek as “song of the goats”) is a type of drama imbued with the pathos of the tragic. In antiquity, it depicted the immediate life of characters in tragic events; action prevailed over story. During the Renaissance, unity of action, which was considered obligatory, was discarded in plays; the tragic was often combined with the comic. Subsequently, the tragedy is strictly regulated: again the unity of action, place and time prevails; There is a demarcation between the comic and the tragic. In modern theater, tragedy in its pure form is rare. The basis of the tragedy is made up of acute social conflicts, fundamental problems of existence, and clashes between the individual and fate and society. A tragic conflict is usually resolved by the death of the hero.
TRAGICOMEDY is a dramatic work that has the characteristics of both comedy and tragedy. It is based on a sense of the relativity of existing life criteria; The playwright sees the same phenomenon in both comic and tragic light, characteristic of the 20th century.
Farce - 1) a type of medieval Western European folk theater of everyday comedies of a satirical nature, which existed in the XIV-XVI centuries. Close to the German fastnachtspiel, Italian commedia dell'arte, etc.; 2) in the theater of the 19th-20th centuries. a comedy-vaudeville of light content with purely external comic techniques.
Extravaganza is a genre of theatrical performances in which stage effects are used for fantastic scenes. Originated in Italy in the 17th century.
FLIAKI - folk theatrical performances in Ancient Greece, especially widespread in the 3rd-4th centuries. BC. in the Greek colonies: short improvisational jokes and scenes from everyday life about the merry adventures of gods and heroes.
2. Theater of Ancient Greece.
The emergence of theater in ancient Greece.
Theater is one of the most ancient arts. Its origins are lost in primitive society. The theater arose from folk hunting and farming games of a magical nature. Believing that imitation of an animal, its appearance and habits can affect the result of the hunt, primitive people They organized dances of people dressed in animal skins.
With the advent of agriculture came festivals to celebrate the harvest. At the festival in honor of the god of wine Dionysus, winegrowers in goat skins depicted various episodes from the life of Dionysus and sang the power of the grapevine, which gives joy.
From this song of the people in goatskins arose tragedy (tragos is Greek for "goat").
From these same holidays dedicated to Dionysus, comedy arose (from the word komos - unbridled fun). Comedy, in contrast to serious and sorrowful tragedies, aroused laughter.
Over time, Greek theatrical performances lost touch with the veneration of the god Dionysus; they told about the lives of other Greek gods, heroes, as well as ordinary people.
The structure of the theater in ancient Greece.
Theaters in Ancient Greece were built in the open air, on the slopes of mountains and hills. They were designed for several thousand, or even several tens of thousands of spectators. The audience sat on stone benches raised by ledges, facing a wide round or square platform - the orchestra.
Greek theater. In the center is the orchestra. On it there is a choir on the right and left, in the middle there is a statue of Dionysus. The orchestra is closed by sköne - an indoor room for changing the actors' clothes. In front of the skene are three actors. Drawing by a contemporary artist based on excavations of the Greek theater. In the center is the orchestra. On it there is a choir on the right and left, in the middle there is a statue of Dionysus. The orchestra is closed by sköne - an indoor room for changing the actors' clothes. In front of the skene are three actors. Drawing by a contemporary artist based on excavation data
The orchestra included actors and a choir, dressed in accordance with the play.
Behind the orchestra there was a room for changing the actors' clothes - skesh (hence the modern name - stage). In it, the actors wore clothes and large, brightly colored masks. Initially, masks were made from wood, and then from canvas impregnated with plaster and coated with paint. The masks allowed all spectators, even those sitting very far away, to see the “facial expression” corresponding to the action - mournful, suffering, stern, cheerful. In addition, the mask's wide-open mouth created something like a megaphone, amplifying the actor's voice.
The actor's height increased with the help of so-called buskins - sandals with very thick soles. Women's roles in Greek theater were played by men.
Tragic and comic poets in ancient Greece.
Competitions of tragic and comic poets were held in Athens. Each of them had to write and stage three plays. The winner was awarded a wreath of evergreen laurel. Famous Greek tragic poets of the 5th century. BC e. - Aeschylus, Sophocles and Euripides. Aeschylus, a participant in the Greco-Persian wars, in the tragedy “The Persians,” condemned the Persian despot Xerxes for cruelty and self-will, and praised the courage of the Greeks in the struggle for the freedom of their homeland. The heroes of many of Aeschylus' tragedies are gods and demigods. In the tragedy “Chained Prometheus,” the hero of the myth, the titan Prometheus, is depicted as a selfless friend and benefactor of humanity, a brave fighter against tyranny and violence, embodied in the image of Zeus.
In Sophocles' tragedies it is not so much gods who act as people. The tragedy "Antigone" depicts a brave woman who spoke out against the unjust decision of the king and was sentenced to execution for this. Antigone faced the verdict courageously. Having died, she won, since the king himself subsequently repented and canceled, albeit late, his sentence. The tragedy "Antigone" was a passionate appeal for humanity, for loyalty to duty, for justice.
Euripides brought the tragedy closer to the viewer, making it more understandable and relevant. The poet boldly raises questions that concern many contemporaries about the injustice of women’s inequality. He portrays people with all their passions, feelings and aspirations, as does the Ancient Greek actor. On his face is a tragic mask. The legs have buskins. Ivory figurine, painted Ancient Greek actor. On his face is a tragic mask. The legs have buskins. An ivory figurine, painted with colors as they are in life.
The greatest comic poet was Aristophanes. In his works, he angrily exposed the shortcomings of the Athenian democracy of his day, making many of its leaders look ridiculous. Aristophanes sharply opposed wars between the Greeks, which benefited only a handful of slave owners, and glorified people of peaceful labor. Many of Aristophanes' comedies ridicule the deceit, greed and injustice of the Olympian gods. Thus, in the comedy “Birds” he portrays Zeus as a thief and a deceiver, Poseidon as a bribe-taker, and Hercules as a glutton. Aristophanes' comedies enjoyed well-deserved success among the people.
The meaning of Greek theater.
The theater was the greatest force in the Greek states. The whole people listened to the authors of tragedies and comedies. The choir's song from the tragedy "Antigone" - "There are many miracles in the world, but man is the most wonderful of them all" - became the favorite song of the Athenians.
The theater was called a “school for adults.” He instilled love for the homeland, respect for work, courage and other wonderful qualities, and noticed shortcomings in the structure of society.
Greek theater had a huge influence on the development of theatrical art of the peoples of modern Europe. The theater of our time has borrowed not only the terminology of the Greek theater, but also owes many of its features and techniques to the Greeks. The plays of ancient Greek playwrights, created more than two thousand years ago, influenced the work of many great dramatic writers of modern times. In our country and some other countries, plays by Aeschylus, Sophocles and Euripides are still staged. By a special decision of the World Peace Council, all progressive humanity recently celebrated the anniversary of Aristophanes. The thoughts and feelings of people of a distant era, expressed in the tragedies and comedies of the Greeks, excite us.
3. Works of Aeschylus, Sophocles, Euripides, Aristophanes.
Aeschylus
Aeschylus became the true founder of the tragedy. He is the author of more than seventy works, of which only seven have come down to us: “The Persians”, “The Pleaders”, “Seven Against Thebes”, “Prometheus Bound”, “Agamemnon”, “Choephori”, “Eumenides”. All of Aeschylus' plays are permeated with a strong religious feeling; they are based on the conflict between human passions and spirituality.
Aeschylus was the founder of the ideologically civil tragedy, a contemporary and participant in the Greco-Persian wars, a poet of the time of the formation of democracy in Athens. The main motive of his work is the glorification of civil courage and patriotism. One of the most remarkable heroes of Aeschylus’s tragedies is the irreconcilable god-fighter Prometheus, the personification of the creative forces of the Athenians. This is the image of an unbending fighter for high ideals, for the happiness of people, the embodiment of reason overcoming the power of nature, a symbol of the struggle for the liberation of humanity from tyranny, embodied in the image of the cruel and vengeful Zeus, to whose slavish service Prometheus preferred torment.
Sophocles
Sophocles wrote 125 dramas, of which seven tragedies have survived: “Antigone”, “Ajax”, “Oedipus the King”, “Electra”, etc. According to Aristotle, Sophocles depicted ideal people, while Euripides depicted people as they are in reality. actually. Euripides was more of a commentator than a participant in events, and was deeply interested in female psychology. The most famous of the 19 works that have come down to us are Medea and Phaedra.
A feature of all ancient dramas was the choir, which accompanied all the action with singing and dancing. Aeschylus introduced two actors instead of one, reducing the chorus parts and focusing on the dialogue, which was a decisive step in transforming the tragedy from purely mimetic choral lyrics into genuine drama. The play of two actors made it possible to increase the tension of the action. The appearance of a third actor is Sophocles' innovation, which made it possible to outline different lines of behavior in the same conflict.
Euripides
In his tragedies, Euripides reflected the crisis of traditional polis ideology and the search for new foundations of worldview. He sensitively responded to pressing issues of political and social life, and his theater was a kind of encyclopedia of the intellectual movement of Greece in the second half of the 5th century. BC e. In the works of Euripides, various social problems were posed, new ideas were presented and discussed.
Ancient criticism called Euripides “a philosopher on stage.” The poet was not, however, a supporter of a particular philosophical doctrine, and his views were not consistent. His attitude towards Athenian democracy was ambivalent. He glorified it as a system of freedom and equality, but at the same time he was frightened by the poor “crowd” of citizens who decided issues in public assemblies under the influence of demagogues. A common thread running through Euripides’ entire work is interest in the individual with his subjective aspirations. The great playwright portrayed people with their drives and impulses, joys and sufferings. With all his creativity, Euripides forced viewers to think about their place in society, about their attitude towards life.
Aristophanes
The most famous author of comedy was Aristophanes, who knew how to direct his satirical “arrows” against contemporary politicians, writers, and philosophers. His most striking works are “Wasps”, “Frogs”, “Clouds”, “Lysistrata”. The heroes of Aristophanes' comedies are not legendary figures, but residents of Aristophanes' contemporary Athens: merchants, artisans, slaves. In comedies there is no such reverence for the gods as in tragedies. They were sometimes even ridiculed.
Aristophanes provides a bold satire on the political and cultural state of Athens at a time when democracy is beginning to experience a crisis. His comedies represent different segments of society: statesmen and generals, poets and philosophers, peasants and warriors, city dwellers and slaves. Aristophanes achieves acute comic effects, combining the real and the fantastic and bringing the ridiculed idea to the point of absurdity. Aristophanes has a flexible and lively language, sometimes approaching the everyday, sometimes very rude and primitive, sometimes parodically elevated and rich in unexpected comedic word formations.
The sciences and literature of Ancient Greece were created by free people gifted with a poetic and mythological perception of the world. In everything that the Greek comprehended, he discovered harmony, be it the universe or the human personality. In his mythological perception, the Greek spiritualized everything that his consciousness touched. Harmony and spirituality are what determine the organicity and integrity of Greek culture and, first of all, art.
4. Theater of Ancient Rome.
In the III-II centuries BC. e. Theater plays a major role in Rome; the plots of the plays are borrowed from the Greeks, but the characters are of Roman origin.
The Roman theater arose when the patriarchal-tribal system decomposed. He did not know the social and round dance forms of the Greek theater and did not rely on the amateur performances of the urban population. The Roman theater was immediately professional.
Roman theater was not associated with the cult of a deity, as in Greece, so it did not have the same social significance. The actors were not respected people, but despised people. They were recruited from among slaves and freedmen and could be beaten for poor performance. Performances were staged in honor of public holidays, as well as at any other time on the initiative of one of the noble citizens.
For a long time there were no permanent theater buildings in Rome.
For performances, special temporary wooden structures were built, which were broken down at the end of the performance. The stage was a wooden platform raised above the ground to half human height. Three narrow staircases of several steps led up to it; characters who had come (according to the plot) from another city climbed up them. The background was the back wall of the booth with a curtain. There were benches for spectators, but sometimes it was only possible to watch performances while standing. They played like this for quite a long time, including the comedies of Plautus.
However, with the development of dramaturgy, the need to make changes in execution grew. The need to build a permanent special theater building in Rome was discussed by the Senate. However, the Senate believed that the theater effeminate youth and corrupted women - and in 154 it stopped the construction of a stone theater that had begun several years earlier.
The first permanent stone theater was built around 55 BC. commander Gnaeus Pompey the Great and accommodated 17 thousand spectators.
Roman theater was different from Greek. The size of the orchestra was reduced by half, it turned into a semicircle. (in the Hellenistic theater the orchestra occupied three quarters of the circle).
The Etruscans and Romans, like all peoples, had ritual and cult songs and games, there was also a theater of folk comedy, the histrion theater, which came from the Etruscans, was close to the Greek mime folk theater atelan (from the city of Atella) with constantly acting masked faces: the fool Bukkon, the fool Makk, the simpleton Pappus, the cunning Dossen. Since theatrical performance was not associated with the cult of a deity, but was timed to coincide with holidays, circus performances, gladiatorial fights, triumphs and burials of statesmen, and the consecration of temples, the Roman theater was of an applied functional nature. The Roman Republic, and especially the empire, was an oligarchic state, so the development of cultural life also went differently, which also affected the theater. It could not take deep roots under such conditions. The status of the actor was different than in Greece. Unlike the Greek, he was not a full member of society and his profession was despised.
Organization of the Roman theater had its own specifics. The choir did not participate in the performance, and the actors did not wear masks. The problems of Roman drama did not rise to the moral heights of ancient Greek. The works of only two playwrights have reached our time in full: Plautus and Terence, comedians, one of whom came from the lower strata of society, and the other was a slave set free by his master for his talent. The plots of their comedies were drawn from the plays of neo-Attic comedy; their main character was a clever, nosy slave. The tragic genre is represented only by the works of Seneca, a Stoic philosopher who wrote plays on mythological subjects for a narrow circle of the elite, and they, strictly speaking, are not related to the theater.
With the establishment of the Roman Empire, pantomimes became widespread. Nevertheless, Roman drama had an impact big influence on the dramaturgy of modern times of the period of classicism: Corneille, Racine (in post-ancient Europe the Greek language was known to few).
5. Organization of theatrical performances in Ancient Greece and Ancient Rome.
In Rome, as in Greece, theatrical performances took place irregularly, but were timed to coincide with certain holidays. Until the middle of the 1st century. BC. There was no stone theater built in Rome. The performances took place in wooden structures, which were dismantled after their completion. Initially, there were no special places for spectators in Rome, and they watched “stage games” standing or sitting on the slope of a hill adjacent to the stage.
The first stone theater in Rome was built by Pompey during his second consulate, in 55 BC. After him, other stone theaters were built in Rome.
The features of the Roman theater building were the following: the seats for spectators were an exact semicircle; the semicircular orchestra was not intended for the choir (it no longer existed in the Roman theater), but was a place for privileged spectators; the stage was low and deep.
The productions of the Roman theater were spectacular and were intended mainly for plebeian spectators. "Bread and circuses" this slogan was very popular among ordinary people in Rome. The origins of the Roman theater were people of low rank and freedmen.
One of the sources of theatrical performances in Rome were folk songs. These include fescenins - caustic, evil rhymes, which were thrown around by mummered villagers during harvest festivals. Much came to the theater from Atellana - a folk comedy of masks that originated among the Oscan tribes who lived in Italy near the city of Atella.
Atellana brought established masks to the Roman theater that had their origins in the ancient Etruscan Saturnine games, held in honor of the ancient Italic god Saturn. The atellan had four masks: Makk - a fool and a glutton, Bukk - a stupid braggart, an empty talker and a simpleton, Papp - a simple, stupid old man and Dossen - an ugly charlatan scientist. This lovely company has amused honest people for a long time.
Another ancient type of dramatic action should be mentioned - mime. Initially, it was a rough improvisation performed at Italian holidays, in particular at the spring festival of Floralia, and subsequently mime became a literary genre.
Several genres of dramatic performances were known in Rome. The poet Gnaeus Naevius also created the so-called pretextata-tragedy, the characters of which wore pretexta - the clothes of Roman magistrates.
Comedy in Rome was represented by two types; comedy togata and comedy palliata. The first is a cheerful play based on local Itelian material. Its characters were people of ordinary rank. The togata got its name from the outer Roman clothing - the toga. The authors of such comedies, Titinius, Afranius and Atta, are known to us only from individual surviving fragments. The name of the comedy palliata was associated with the short Greek cloak - pallium. The authors of this comedy turned primarily to the creative heritage of Greek playwrights, representatives of Neo-Attic comedy - Menander, Philemon and Diphilus. Roman comedians often combined scenes from different Greek plays into one comedy.
The most famous representatives of the comedy palliata are the Roman playwrights Plautus and Terence.
Plautus, to whom the world theater owes many artistic discoveries (music became an integral part of the action, it was heard in both lyrical and comedic scenes), was a universal personality: he wrote texts, acted in plays that he himself staged (“Donkeys,” “ Pot", "Boastful Warrior", "Amphitryon", etc.). He was a truly people's artist, just like his theater.
Terence is most interested in family conflicts. He expels crude farce from his comedies, makes them refined in language, in the forms in which human feelings are expressed ("The Girl from Andos", "Brothers", "Mother-in-Law"). It is no coincidence that during the Renaissance, Terence's experience was so useful to new masters of drama and theater.
The growing crisis led to the fact that ancient Roman drama either fell into decay or was realized in forms not related to the theater itself. Thus, the greatest tragic poet of Rome, Seneca, writes his tragedies not for performance, but as “dramas for reading.” But Atellana continues to develop, the number of its masks is replenished. Her productions often touched on political and social issues. The traditions of atellana and mime, in fact, never died among the people; they continued to exist in the Middle Ages and the Renaissance.
In Rome, the skill of actors reached a very high level. The tragic actor Aesop and his contemporary, the comic actor Roscius (1st century BC), enjoyed the love and respect of the public.
The theater of the ancient world became an integral part of the spiritual experience of all mankind, laying much of the foundation for what we today call modern culture.
6. Theater of the Middle Ages. Religious and folk theater
The history of medieval theater is a cultural cross-section of an entire era (the Middle Ages - the era of the feudal system, V-XVII centuries), from which one can study the consciousness of medieval man. In this consciousness there were contradictory combinations of healthy folk meaning and the most bizarre superstitions, fervor of faith and mockery of church dogmas, spontaneous love of life, craving for earthly things and harsh asceticism instilled by the church. Often, folk, realistic principles came into conflict with idealistic religious ideas and the “earthly” took precedence over the “heavenly”. And the medieval theater itself originated in the deep layers of folk culture.
Even at the end of the early Middle Ages, wandering amusements - histrions - appeared in squares and city streets and in noisy taverns. In France they were called jugglers, in England - minstrels, in Rus' - buffoons. The skillful histrion was a one-man show. He was a magician and an acrobat, a dancer and a musician; he could perform an act with a monkey or a bear, act out a comic scene, walk a cartwheel, or tell an amazing story. In these stories and performances there lived a cheerful spirit of the fair, a free joke.
Even more daring was the art of the vagantes. Parody and satire reigned here. Vagantes, or “wandering clerics,” are half-educated seminarians and defrocked priests. To the tune of church hymns, they sang praises to “All-Drinking Bacchus” and parodied prayers and church services. Histrions and vagantes, persecuted by the church, united into brotherhoods, attracting a wide variety of people. This, for example, was the case in France with the “Brotherhood of Carefree Children” led by the Prince of Fools. The “guys” played amusing “stupid” acts (soti), in which everything and everyone was ridiculed, and the church was presented in the guise of Mother Fool.
The Church persecuted the Histrions and Vagants, but was powerless to destroy the people’s love for theatrical spectacles. In an effort to make the church service - liturgy more effective, the clergy themselves begin to use theatrical forms. A liturgical drama arises based on scenes from the Holy Scriptures. It was played in the temple, and later on the porch or church yard. In the XIII-XIV centuries. a new genre of medieval theatrical performance appears - miracle (“miracle”). The plots of the miracles are borrowed from the legends about saints and the Virgin Mary. One of the most famous is “The Miracle of Theophilus” by the French poet of the 13th century. Rutbefa.
The pinnacle of medieval theater - mystery.
This genre flourished in the 15th century. Almost the entire population of the city participated in the mysteries: some as actors (up to 300 or more people), others as spectators. The performance was timed to coincide with the fair, a special occasion, and opened with a colorful procession of townspeople of all ages and classes. The plots were taken from the Bible and the Gospel. The action went on from morning to evening for several days. Gazebos were built on a wooden platform, each of which had its own events. At one end of the platform there was a richly decorated Paradise, at the opposite end there was Hell with the gaping mouth of a dragon, instruments of torture and a huge cauldron for sinners. The decorations in the center were extremely laconic: the inscription above the gate “Nazareth” or the gilded throne was enough to indicate a city or palace. Prophets, beggars, devils led by Lucifer appeared on the stage... The prologue depicted the heavenly spheres, where God the Father sat surrounded by angels and allegorical figures - Wisdom, Mercy, Justice, etc. Then the action moved to earth and beyond - to Hell, where Satan fried sinful souls. The righteous came out in white, the sinners in black, the devils in red tights, painted with scary “faces.”
The most pathetic moments in the performances were associated with the grieving Mother of God and the suffering of Jesus. The mystery also had its own comic characters: jesters, beggars, devils, whom they were afraid of, but often fooled. The pathetic and the comic coexisted without mixing with each other. Events developed with the closest attention and intervention of higher and lower forces. Heaven, earth and the underworld made up one huge world, and man in this world was both a grain of sand and the center - after all, forces much more powerful than himself fought for his soul. The most popular were the mysteries of Arnoul Greban, as well as one of the rare works on a secular theme - “The Mystery of the Siege of Orleans”, in which the events were recreated Hundred Years' War(1337-1453) between England and France and the feat of the Maid of Orleans - Joan of Arc, who led the struggle of the French people against the English invaders and was then betrayed by the French king, to whom she returned the throne. Being a square action addressed to mass audience, the mystery expressed both folk, earthly principles, and a system of religious and church ideas. This internal inconsistency of the genre led to its decline, and subsequently served as the reason for its prohibition by the church.
Another popular genre was morality plays. They seemed to branch off from the mystery play and became independent plays of an edifying nature. Parables were played out about “The Prudent and the Imprudent”, about the “Righteous and the Reveler”, where the first takes Reason and Faith as his life partners, the second - Disobedience and Dissipation. In these parables, suffering and meekness are rewarded in heaven, while hard-heartedness and stinginess lead to Hell.
They played morality plays on the stage. There was something like a balcony where they presented living pictures celestial spheres- angels and the god of hosts. Allegorical figures, divided into two camps, appeared from opposite sides, forming symmetrical groups: Faith - with a cross in her hands, Hope - with an anchor, Avarice - with a purse of gold, Delight - with an orange, and Flattery had a fox's tail, which she stroked Stupidity.
A morality play is a dispute between persons, played out on the stage, a conflict expressed not through action, but through an argument between characters. Sometimes in sketches where sins and vices were talked about, an element of farce and social satire appeared; the breath of the crowd and the “free spirit of the square” (A.S. Pushkin) penetrated into them.
The square theatre, be it a mystery play, a morality play, a soti or a performance by histrions, reflected the love of life of medieval man, his cheerful audacity and thirst for miracles - faith in the victory of goodness and justice.
And it is no coincidence that in the 20th century. interest in medieval theater is growing. Playwrights and directors are attracted by its appeal to the masses, the clear distinction between good and evil inherent in the popular consciousness, the “universal” scope of events, the penchant for parables and bright “poster” metaphors. The poetics of this folk spectacle is used by V. E. Meyerhold when staging V. V. Mayakovsky’s play “Mystery-Buffe”. In Germany, the parable play was approved by B. Brecht. At the turn of the 60-70s, during the student protest movement, L. Ronconi in Italy staged L. Ariosto’s “Furious Roland” in the square, and in France A. Mnouchkine staged performances of the Great French Revolution (“1789”, “1791” "). The ancient theatrical tradition seems to be gaining new life, connecting with the searches of modern theater workers.
Genres of medieval religious theater
In the 9th century. the first genre of medieval religious theater was born - liturgical drama. This theatrical performance was part of the divine service (liturgy).
The reasons for the appearance of this genre are most likely related to the desire of priests to attract as many people as possible to religion, to make worship (in the Middle Ages, Christian services were conducted in Latin) more understandable for the illiterate common people.
Liturgical drama was born from the church trope - a dialogized transcription of the Gospel text, which usually ended with singing. After him, the liturgy continued as usual
The first liturgical drama is the scene of the three Marys who come to the Holy Sepulcher. This drama took place on Easter. Its plot was that Mary (priests who put shoulder scarves on their heads, indicating women's clothing) came to the tomb, in which the body of the crucified Christ was supposed to lie, in order to smear it with ointment. However, in the tomb they met an angel (a young priest in a white robe). In this scene, dialogue and individual responses already appeared (between the angel and the Marys), which allows us to say that this action was the first liturgical drama.
The priests themselves organized the production of the liturgical drama. The performances took place in the temple.
At the initial stage of its existence, liturgical drama was closely adjacent to the mass, its text completely coincided with the text of the service, both in content and style. The liturgical drama was performed in Latin and was imbued with a solemn mood, just like the mass. The “actors” recited their words in a sing-song voice.
Gradually, the drama becomes more and more isolated from the service. Two independent cycles of liturgical drama appear - the Christmas one (which included episodes: the procession of the shepherds, foreshadowing the birth of Christ, the worship of the Magi, the scene of the wrath of King Herod, who ordered the death of all the babies in Bethlehem) and the Easter one (it included episodes associated with the resurrection of Christ).
Over time, liturgical drama also develops from static and symbolic to effective. Household elements begin to be introduced into it.
Initially created in order to make worship more understandable for parishioners, liturgical drama simplified religious ideas, which, however, was fraught with great danger for religion, since it led to its profanation.
In 1210, by decree of Pope Innocent III, performances of liturgical drama inside church buildings were prohibited. At this point, liturgical drama as a genre ceases to exist.
However, religious theater does not disappear. Liturgical drama emerges from the church onto the porch and becomes semi-liturgical drama.
There are even more worldly motives in this performance. It loses its strong connection with the service and with the church calendar, therefore, the choice of the day for the performance becomes more free. The semi-liturgical drama is also played out during the fair. Instead of Latin, performances begin to take place in vernacular languages.
"Divine" roles were still performed by clergy. Church vestments and utensils were used in the performance. The action was accompanied by the singing of a choir, performing religious hymns in Latin.
The clergy took a huge part in organizing performances of semi-liturgical drama (providing the territory for the performance (porch), playing the main roles, selecting the repertoire, preparing “costumes” and “props”).
However, religious themes are beginning to actively intertwine with secular ones. Theatrical culture strives to dissociate itself from religion, which, however, will not happen completely throughout the entire Middle Ages.
Mystery
Another genre related to religious theater. The mystery originated from processions in honor of church holidays.
The name comes from Lat. ministerium – church service
The heyday of the mystery theater occurred in the 15th-16th centuries.
Performances were organized by city workshops and municipalities, and not by the church. All residents of the city took part in the mysteries.
Mystery performances were often organized on fair days.
On the morning of the opening day of the fair, a church prayer service was held, then a solemn procession was organized in which the entire city took part. After him, the mystery itself played out.
The mysteries were divided into three cycles - the Old Testament (Old Testament, from the creation of the world to the birth of Christ), the New Testament ( New Testament, birth, life, death, resurrection and ascension of Christ) and apostolic (lives of the saints).
Representatives of various city workshops took part in the organization and presentation of the mystery play. Each workshop received its own independent episode in the action.
The performance lasted the whole day, and sometimes several days.
There was three types of stage space organization and, accordingly, three types of presentation of the mysteries.
Mobile (characteristic primarily for England). Individual episodes of the mysteries were shown in vans with a high platform, open on all sides. These vans were called pagents. After a certain episode was shown, the van moved to the next square, and a new one with actors drove up in its place, acting out the next episode. And so on until the end of the mystery.
Annular. There was one platform on the square. The piles for it were arranged in a ring shape. There were several separate sections on the platform, depicting different scenes of action. The spectators were located around the platform.
Besedochny. Several scenes of action were depicted on the square at the same time. It was a series of gazebos located on a single platform in a straight line and facing the audience frontally. In each gazebo, separate episodes were played out depending on the scene of action this gazebo depicted. The audience moved from one gazebo to another.
This organization of stage space is associated with the most important principle for medieval theater - simultaneity (simultaneity). This principle implied the simultaneous presence of several places of action on the square and, accordingly, the simultaneity of actions taking place in them. Simultaneity goes back to medieval ideas about time.
When organizing performances, machinery was actively used, and great attention was paid to the scenery, especially those depicting heaven or hell. The entertainment side was extremely important.
In the mystery play, naturalism (especially manifested in the presentation of various bloody scenes) and convention coexisted.
Despite the fact that the mystery was organized by secular persons, it was a kind of religious service that was performed by the whole city.
Participation in the mystery was considered a pious deed. Many roles were so popular among applicants that the organizers held an auction from which these roles were sold.
The mystery included completely heterogeneous elements. Despite the fact that its main content was some episode from the Bible, everyday elements very actively penetrated into the mystery. In addition, sometimes the mystery performance was diluted with entire farcical scenes, which were practically a separate performance in no way related to the mystery in the plot. In addition, episodes involving devils were very popular. And often such a character as a jester appeared in mysteries.
Initially, the organization of mysteries was carried out by amateurs; later, entire unions began to be created, whose responsibility was to stage the mystery. As a rule, they were called brotherhoods by analogy with other medieval brotherhoods.
The most famous such organization was the Brotherhood of the Passion in France, which, since 1402, even received a monopoly on organizing in Paris not only mysteries, but also miracles and “other religious moral plays” (as stated in the patent issued to members of the brotherhood by the king).
Miracle
The name of this genre comes from the Latin word miraculum (miracle).
Originates in France in the 13th century.
The miracle comes from hymns in honor of saints and readings of their lives in church. Therefore, the basis for the plots were stories about miracles performed by the Virgin Mary and the saints.
The organization of performances of miracles in France was carried out by special communities - puys. Their name comes from the word podium.
Morality
Another genre related to the religious theater of the Middle Ages.
Appears in the XV-XVI centuries.
This is an allegorical play in which allegorical characters act. Each of them is the personification of some abstract concept (sin, virtue, quality, etc.). The essence of the plot boiled down to the story of how a person faces a choice between good and evil.
People who chose virtue were rewarded in the end, and those who indulged in vice were punished. Thus, every morality tale was imbued with didacticism.
Morality plays do not have a direct connection with biblical plots, however, its moralizing nature allows us to classify this genre as a religious theater of the Middle Ages.
The stage for the morality play was the stage built in the square.
Allegorical characters wore inscriptions on their chests, which explained to the audience who was in front of them. In addition, each of them had its own integral attribute, with which it always appeared on stage and which also symbolically explained what kind of allegory it was.
Natalya Naumova
In my work with children, I pay great attention to theatrical activities. This is one of the most popular and exciting destinations in preschool education. It is theatrical activities that make it possible to solve many pedagogical problems related to the formation of the expressiveness of a child’s speech, intellectual and artistic-aesthetic education. The educational value of theatrical games is also enormous; children develop a respectful attitude towards each other, they learn the joy associated with overcoming communication difficulties and self-doubt. At the same time, theatrical play instills in the child a sustainable interest in his native culture, literature, and theater.
For successful work a subject-spatial environment has been created in the group: a theater corner for independent activity children with various types theaters Puppet theater is a magical world. Unlike drama theatre, where live people play instead of puppets, puppet theater is more durable. Its actors are able to live for many centuries, and any doll, guided by the hand of an experienced puppeteer, is able to come to life at any moment and play any role in front of us.
And today I want to introduce you to the variety of types of theater that I use in my work with children.
Bi-ba-bo theater
Bi-ba-bo dolls are put on three fingers of the hand - like a glove.
The simplest doll consists of a body-shirt, a head and arms.
These dolls can be purchased in stores or sewn yourself. The body-shirt is cut from fabric according to the puppeteer's hand. The head can be made of different materials: wood, plastic ball, papier-mâché. You can also use old dolls and rubber toys.
Soft toy theater.
These dolls are made of fabric with pile.
Plane theater
The characters are drawn on thin cardboard (plywood, cut out, the image is placed on the cardboard (plywood, the second part is outlined and cut out). Glue both parts together. The figures are installed on plastic plugs, Lego parts.
Finger Theater.
Finger theater is an excellent material for developing children's imagination, thinking and speech. Finger theater promotes development fine motor skills. During games, children, repeating the movements of adults, activate hand motor skills. With the help of this, dexterity is developed, the ability to control one’s movements, and concentrate attention on one type of activity.
Masks-caps
Children's favorite type of theater. Characters are usually drawn, cut out of cardboard and glued to the headband.
Large dolls "Living hand"
Large dolls (the height of a child) are flat and voluminous, preferably made of foam rubber. The child ties ribbons around the back of his neck, which are attached to the doll’s head. The child attaches the doll's hands to the wrists. wearing rubber bands sewn to the doll's hands.
Spoon Theater
The simplest and most accessible spoon puppet theater for children. Spoon dolls anticipate the introduction to riding dolls, being, as it were, a simplified version.
Toy Theater
You must first select rubber toys. They should be approximately the same size, that is, so that the mouse is not taller than the cat. Then they come up with or select a fairy tale in which these characters would participate.
Rubber toy theater helps more vivid perception, develops
spatial and figurative vision of children.
Cone Theater
The dolls must be cut out and glued together in the form of cones (this is their basis). Then attach additional details, they are usually also made in the form of geometric figures - a round head, triangular ears on animals, rectangular mustaches. If desired, decorate the dolls' clothes with small appliques or paint. It is advisable to prepare decorations for the dolls - a fence, a tree, houses, clouds.
This type of theater helps teach children to coordinate hand and eye movements.
Publications on the topic:
Summary of the meeting of the parent club “In the world of theaters” Municipal budget preschool educational institution Kindergarten No. 330 of the urban district of the city of Ufa, Republic of Bashkortostan.
Goal: To promote children’s ability to name, distinguish, classify different types transport. The game can be used in different ways.
Main types of teaching activities Pedagogy is the science of man. She studies not only man as a biological species, but also man as an individual. A. S. Makarenko -.
Project "Winter Sports" Business card of the project: The project was implemented in conditions kindergarten V senior group No. 6. The main participants are children and educators.
To effectively solve the problems of the "Poteshnik" program for theatrical activities of younger children preschool age(see previous ones.