Psychological analysis of the phenomenon of child shyness. Methods for diagnosing shyness
Introduction
Chapter 1. Theoretical aspects the influence of theatrical activity on the development of shyness in younger students
1 Features mental development junior schoolchildren
2 Main characteristics of shyness
3 Theatrical activity as a pedagogical tool
Chapter 2. Experimental determination of the influence of theater activity on the development of shyness in younger students
1 Description of the experimental base and ascertaining experiment
2 Description of the methodology of theatrical activity used in the experiment
3 Description of the formative experiment and interpretation of its results
Conclusion
Bibliography
Annex 1
Appendix 2
Appendix 3
Introduction
According to a number of published studies in the field of child psychology, one of the risk factors for deviations from normal development is the excessive shyness of younger students. Statistics say that about 40% of modern schoolchildren studying in grades 1-4 are characterized by qualities, the totality of which can be called shyness. This term is usually understood as a person's excessive self-doubt in himself, his own strengths, lack of sociability, low social activity, increased anxiety. These phenomena are especially pronounced in learning activities schoolchildren.
Safin V.F., Kon I.S., Izard K., Zimbardo F., Vasilyuk F.E. dealt with the problems of shyness, the study of psychological and pedagogical tools for its resolution at different times. and etc.
These and other authors have proposed various means of correcting the excessive shyness of younger students, one of which is the involvement of the child in theatrical activities in the process of his schooling.
Problem: Excessive shyness slows down the development of younger students.
Hypothesis: the inclusion of children of primary school age in theatrical activities will reduce the level of shyness.
The purpose of the study: to determine the specifics of the influence of theatrical activity on the formation and development of shyness in younger students.
Research objectives:
determination of the characteristics of the mental development of younger students;
identification of specific features of shyness in primary school age;
characterization of the influence of theatrical activity on the development of shyness;
diagnostics of levels of shyness in modern junior schoolchildren;
approbation of the methodology for including theatrical activities in educational process in practice, determining its effectiveness;
Object of study: a group of children of primary school age.
Subject of research: the level of development of shyness of younger students.
Research methods:
analysis of scientific and methodical literature;
included observation;
formative experiment;
control diagnostics.
The theoretical significance of the study is due to the lack of materials in the field of diagnosing and correcting shyness in younger students.
The practical significance of the study is given by the presence in the work of a large amount of experimental data, diagnostic results, as well as methodological recommendations that can be used by teachers and parents in the work on correcting the shyness of younger students.
The work consists of introduction, two chapters, conclusion and appendices. The first chapter reveals the theoretical aspects of the influence of the involvement of younger students in theatrical activity on the level of their shyness.
The second chapter describes the experience of approbation of the methodology for including children - younger schoolchildren in theatrical activities and its effectiveness.
The conclusion summarizes the main findings of the entire study. The appendix contains all the necessary accompanying materials.
Chapter 1. Theoretical aspects of the influence of theater activities on the development of shyness in younger students
.1 Features of the mental development of younger students
Development in psychology is usually understood as a qualitative change in an object.
When we talk about the norm of development, we mean the generally accepted levels of development of some components - intellect, thinking and other mental functions, emotional development, corresponding to the age of the child.
In psychology and pedagogy, there are age periodizations that collect all the information about the level of development of these components at a certain age. The most developed are the periodizations of B.D. Elkonin and V.I. Slobodchikov. Their work is based on the following concepts:
Leading activity is "an activity that determines the main direction of development at a particular age." The ability that develops in the child in the course of the implementation of the leading activity is called the neoformation of age. Transitions from one leading activity to another are called development crises.
The event community is “a community within which proper human abilities are formed, allowing the individual, firstly, to enter into various communities and join certain forms of culture, and secondly, to leave the community, individualize and create new forms himself, i.e. to create new forms. e. be independent."
Summarizing these concepts, we can say that the child depends on society. At each stage of development he has a certain community in which he is included, on which he depends. For a long time it is only a mother, then a family, school, etc. In addition, the child develops at the level of mental functions, at the activity level. The development of new functions is carried out through activities that are different in each age period. These new functions - neoplasms - allow the child to be full-fledged, to enter society on an equal basis. But if there is a violation in the development of the child, if he does not live through any period, the activity is not mastered, then this negatively affects his development.
According to the periodization of V.I. Slobodchikov junior school age is the period from 7 to 11 years.
Let us briefly characterize the main neoplasms of the ages and the circle of event commonality in the younger schoolchild and adolescent.
Changes in the development of higher mental functions:
memory. The changes concern the acquisition of new ways of remembering, based not on primitive repetition and memorization, but on the "grouping constituent parts material";
perception. In the field of perception, there is a transition from the involuntary perception of a preschool child to purposeful voluntary observation of an object that is subject to a specific task;
will. The development of arbitrariness occurs due to the requirements imposed by the school, the educational process on the child;
attention. Also, educational activities contribute to the development of attention, focusing on uninteresting things;
thinking. The development of thinking occurs due to the fact that in the process of learning the child has to not only learn, but also analyze, synthesize, generalize. All these are mental operations aimed at working with concepts.
Based on the development of memory, arbitrariness, attention, perception and thinking, the level of cognitive activity of the child, his intellectual abilities, increases.
The leading activity at the stage of primary school childhood is educational.
The structure of academic activity includes:
the learning task is what the student must master;
learning action is change educational material necessary for its development by the student;
the action of control is an indication of whether the student correctly performs the action corresponding to the model;
the action of evaluation is the determination of whether a student has achieved a result or not.
Educational activity is not given to the child from the very beginning, it needs to be built. On early stages it is carried out in the form of a joint activity of the teacher and the student. The process of development of educational activity is the process of transferring its individual links from teacher to student. Any action the child performs first with an adult, gradually the measure of the adult's help decreases and comes to naught, then the action is internalized, and the child begins to perform it independently.
When a child enters school, his whole way of life changes dramatically, his social status, position in the team, family. From now on, his main activity is teaching, the most important social duty is the duty to learn, to acquire knowledge. And teaching is a serious work that requires a certain organization, discipline, and considerable volitional efforts on the part of the child. More and more often you have to do what you need, and not what you want. The student is included in a new team for him, in which he will live, study, develop and grow up.
From the first days of schooling, the main contradiction arises, which is driving force development in early childhood. This is a contradiction between the ever-growing demands that educational work and the team make on the personality of the child, on his attention, memory, thinking, and the current level of mental development, the development of personality traits. Demands are constantly growing, and the current level of mental development is continuously drawn up to their level.
Thus, the area of social community of a younger student includes his parents, teacher and peers.
1.2 Main characteristics of shyness
A.B. Belousova defined shyness as “a phenomenon of emotional and cognitive origin, which is caused by the existence of psychological tension in the subject in interpersonal communication and is accompanied by thoughts about their own inferiority and negative attitude towards themselves on the part of the subjects of communication.
If shyness is experienced briefly and rarely, then it acts as a state; if for a long time and often, then it turns into a property of the individual.
Shyness arises in the context of emotional contacts, in situations that are at least to some extent emotional. The most common objects that contribute to the emergence of shyness are the self (or self-consciousness), the body, love, work, friendship, close interpersonal relationships, or even short contacts that nevertheless have a special meaning for the person.
There are many different versions about the nature of shyness. Different experts put forward different answers:
Researchers in personality psychology are convinced that shyness is inherited, just like mental capacity or human height.
Behaviorists believe that shy people simply lack the social skills needed to communicate fully with other people.
Psychoanalysts say that shyness is nothing more than a symptom, an expression on a conscious level of deep mental contradictions raging in the subconscious.
Sociologists and some child psychologists believe that shyness must be understood in terms of social attitudes: we are embarrassed when it comes to observing social decorum.
Social psychologists say that shyness makes itself felt from the moment when a person says to himself: “I am shy”, “I am shy because I consider myself to be such and because others think so of me.”
Shyness manifests itself in different ways. There is a lot in common in the manifestation of shyness with the manifestation of confusion and tension. Therefore, they are all combined into one group, called in psychology emotional disturbances of activity.
Any emotional (born of emotion) disturbances in activity can be more clearly manifested either in the psychomotor, or in the intellectual, or in the vegetative sphere. Violation of these areas determines the three main types of manifestations of shyness, such as:
External behavior of a person, signaling shyness;
Physiological symptoms;
Internal sensations and vulnerability of intellectual functions.
The main signs characterizing a person's behavior as signaling shyness are: unwillingness to engage in conversation, eye contact is difficult or even impossible, he evaluates his voice as too soft, avoiding people, not showing initiative. This behavior makes it difficult social communication and interpersonal contacts necessary for all people without exception. Because shy people repeatedly fail to express themselves, they are less able than others to create their own inner world. All this leads to isolation of a person. Withdrawal is an unwillingness to talk until you are pushed to it, a tendency to remain silent, an inability to speak freely. But isolation is not just a desire to avoid talking, but a more general and deeper problem. This is not just a problem of lack of communication skills, but the result of a misconception about the nature of human relationships. The actions of a closed person are similar to the actions of a distrustful investor in a rapidly changing market: hopes for possible profit outweighed by the fear of losing their money.
On a physiological level, shy people experience the following sensations: the pulse quickens, the heart beats strongly, sweat comes out, and there is a feeling of emptiness in the stomach. However, we experience similar reactions with any strong emotional shock. A distinctive physical symptom of shyness is redness on the face that cannot be hidden. But again, we all blush from time to time, our heart beats faster or our stomach cramps. True, non-shy people treat these reactions as a mild inconvenience, and shy people tend to focus on their physical sensations. Sometimes they don't even wait until they find themselves in a situation that is fraught with embarrassment or embarrassment for them. They experience these symptoms ahead of time and, thinking only of the bad, decide not to engage in conversation, not to learn to dance, etc.
From the inner feelings of a shy person, embarrassment and awkwardness can be distinguished. Often people blush with embarrassment - a short-term acute loss of respect for oneself, which one has to experience from time to time. Confusion leads to general attention to some cases from private life, when someone informs other people about us, unexpected praise when they are caught doing an activity not intended for prying eyes. The state of embarrassment is caused by the consciousness of one's own inadequacy. Most shy people learn to avoid situations in which they may feel embarrassed, and thus more and more separate themselves from others, focusing on their shortcomings.
There are people who are shy even when they are alone. They blush and feel embarrassed, reliving their previous mistakes or worrying about how they will behave in the future.
The most notable quality of a shy person is awkwardness. Awkwardness is an external manifestation of excessive concern for one's internal state. Self-knowledge, the desire to comprehend oneself underlie many theories of the harmonious development of personality. Awkwardness can manifest itself both in public and alone with oneself. Embarrassment in public is reflected in a person's concern about the impression made on others. Embarrassment with oneself is a brain turned against itself. This is not just a focus on oneself, but a negatively colored egocentrism.
Shyness has negative consequences not only in social terms, but also negatively affects thought processes. Shyness plunges a person into a state that is characterized by an aggravation of self-consciousness and specific features of self-perception. A person seems to himself small, helpless, constrained, emotionally upset, stupid, worthless, etc.
Shyness is accompanied by a temporary inability to think logically and effectively, and often a feeling of failure, defeat. To some extent, you can say that a person is going crazy. After self-control turns on and anxiety rises, shy people pay less and less attention to incoming information. The agony of shyness kills memory, perception is distorted. Thus, shyness deprives a person not only of the gift of speech, but also of memory and clear perception.
There is another kind of shyness, when it manifests itself as an incomprehensible eccentricity, harshness unusual for this person, even rudeness. This is the so-called overcompensation of shyness. Behind conscious shamelessness, behind emphasized rudeness and eccentricity, people try to hide, hide their shyness.
developing trust in others;
acting out fears;
removal of bodily tension;
There are some problems in diagnosing shyness. There are quite a lot of methods for determining the degree of shyness in adolescents. These are the methods of F. Zimbardo, J. Farenberg, A.B. Belousova and others.
An analysis of the psychological and pedagogical literature showed that today we do not have a sufficient number of methods for diagnosing shyness in younger students. There are some kind of "local" diagnostic programs that affect the phenomenon of shyness (such as anxiety, fears, loneliness, self-esteem, etc.). The success of measuring the shyness of younger students depends on the ability to correctly dissect the problem of shyness and select appropriate diagnostic tools for all the elements.
Currently, the complex of methods that determine the shyness of younger students includes:
measuring the child's self-esteem;
measurement of anxiety;
Methods for measuring shyness are observation, questioning, interviewing, questioning.
1.3 Theatrical activity as a pedagogical tool
Theater is a synthesis of arts, which has absorbed almost everything that helps a full-fledged person to develop, who is able to perceive the world around him as a living single organism.
N.E. Basina highlights the following common features theatrical and pedagogical activities:
the vector of interest in theater and pedagogy has always been human relations, the interaction of man and the world;
The profession of a teacher has much in common with the professions of an actor and director. Publicity - the specifics of the pedagogical and acting professional situation;
The game is actively used both in theatrical and pedagogical activities.
According to L.S. Vygotsky, "along with verbal creativity, dramatization, or theatrical production, is the most frequent and widespread type of children's creativity." First, the drama, based on the action performed by the child himself, most closely, effectively and directly connects artistic creation with personal experience. Another reason for the proximity of the dramatic form to the child is the connection of all dramatization with play. Drama is closer than any other type of creativity, it is directly connected with the game, this root of all children's creativity, and therefore it is the most syncretic, that is, it contains elements of the most various kinds creativity.
Immersion in the world of theater in childhood creates certain ideals in the mind of a person, which subsequently carry only positive energy.
The next aspect: theater is a collective art. And children here comprehend what the standard general educational process at school cannot always achieve from them. Classes in the theater discipline, develop a sense of responsibility to partners and the audience, instill a sense of collectivism, love for work, courage.
The theatrical production provides a pretext and material for the most diverse types of children's creativity. Children themselves compose, improvise or prepare a play, improvise roles, sometimes stage some ready-made literary material. This is the verbal creativity of children, necessary and understandable to the children themselves, because it acquires meaning as part of the whole; it is a preparation or a natural part of a whole and entertaining game. The production of props, scenery, costumes gives rise to the fine and technical creativity of children. Children draw, sculpt, carve, sew, and again all these activities acquire meaning and purpose as part of a common idea that excites children. Finally, the play itself, consisting in the representation of the actors, completes all this work and gives it its full and final expression.
The main language of the theater is play-action, and the signs are dialogue. game in primary school plays an important role, it "leads" the training. It is theatrical art in the context of play and action, creating images that is an effective condition for the correction of higher mental functions as the basis for the formation of speech activity. Theatrical activity, as a model of life situations, as a “trial” to feel oneself in a particular environment, creates, like no other educational activity, favorable conditions:
for the development of the emotional sphere (acquaintance with the feelings, moods of the characters, mastering the ways of their external expression, understanding the reasons for this or that mood);
for speech development (improving dialogues and monologues, mastering the ways of expressiveness of speech, diction);
for self-expression and self-realization.
The emergence of theater pedagogy as a separate branch of pedagogy can be considered as some result of the synergy of theater and pedagogical activity.
To date, theater pedagogy has developed a rich system of exercises and trainings that develop attention, imagination, associative thinking, memory, the ability to act and other elements of creativity.
Creative elements include:
attention to the object;
organs of perception: sight, hearing, etc.;
memory for sensations and the creation of figurative visions on its basis;
imagination;
ability to interact;
logic and consistency of actions and feelings;
sense of truth;
faith and naivete;
a sense of perspective of action and thought;
sense of rhythm;
charm, endurance;
muscle freedom and plasticity;
the feeling of the phrase;
ability to use words.
Mastering these elements of creativity leads to the creation of normal creative well-being.
The forms of inclusion of theatrical activity in the educational process are diverse:
Theater as a lesson
The inclusion of such a form of educational activity implies:
expanding children's ideas about the theater;
familiarization of children with the history of the theater;
development of theatrical performances and their performance;
exercises for the development of cognitive abilities;
development of the child's communication skills;
exercises for the development of elements of creative activity necessary for the child to participate in a theatrical production.
The form of the lesson for theatrical activity is not quite usual. A clear disadvantage of this approach is the time limitation of the lesson and the vagueness of the criteria for evaluating the performance of students in the theater lesson.
Theater as a form of extracurricular work
The most common way to include theatrical activities in the educational process. It is characterized by a certain separation of standard educational activities from theatrical and represents longer events organized by the teacher after the lesson, similar in principle to the activities of actors and theater directors.
All activities here are built around school theater, the composition of which can be either divided into age groups or be mixed. Often, a separate teacher-organizer or an invited specialist with a theatrical education is responsible for running a theater group.
This is a more developmental form of organizing theatrical activity, because here children learn by being directly involved in the process of developing a theatrical production and bringing it to its logical conclusion.
Theater as training
This form implies the use of individual elements of theatrical activity in the educational process. This can be playing skits in class, analyzing some of the most memorable of them from real theatrical productions. There is no full inclusion in theatrical activity. The theater is only one of the socio-cultural resources for building the educational process.
O.L. Zvereva identified the following types of theater classes:
Typical, which include the following activities: theatrical and gaming, rhythmoplasty, artistic speech, theatrical alphabet (elementary knowledge of theatrical art).
Dominant - dominates one of the specified activities.
Thematic, in which all the named activities are united by one topic, for example: “What is good and what is bad?”, “About dogs and cats”, etc.
Complex - a synthesis of the arts is used, an idea is given of the specifics of the arts (theatre, choreography, poetry, music, painting), modern technical means (audio and video materials).
All types combined artistic activity, alternate, there are features of similarity and differences in the works, means of expression of each type of art, in their own way conveying the image.
Integrated, where not only artistic, but also any other activity acts as a core activity.
Rehearsal rooms, where the “run” of the performance being prepared for staging or its individual fragments is carried out.
As noted above, there are certain difficulties in measuring the effectiveness of theatrical activity as an element of the pedagogical system. These difficulties are mainly related to the definition of performance criteria. Among a small number of methods for measuring the effectiveness of theatrical activity, one can single out the approach of T.S. Komarova. The main characteristics of this approach are presented in the table below.
Table 1 - Measuring the effectiveness of theatrical activities in the educational process
1. Fundamentals of theatrical culture High level Medium level Low level 1 Shows a steady interest in theatrical art and theatrical activities. Knows the rules of conduct in the theatre. Interested in theatrical activities. Shows no interest in theatrical activities. Knows the rules of behavior in the theatre.2 Names different types of theatre, knows from the difference can characterize the theatrical professions.Uses his knowledge in theatrical activities.Difficult to name the different types of theatre.2. Speech culture1Understands main idea understands the main idea of a literary work. Understands the content of a work. 2 Gives detailed verbal characteristics of the main and secondary characters. Gives verbal characteristics of the main and secondary characters. Distinguishes between main and secondary characters. and can characterize plot units. It is difficult to single out plot units. Emotional-figurative development 1 Creatively applies knowledge about various emotional states and character of characters in performances and dramatizations, uses various means. Possesses knowledge of various emotional states and can demonstrate them using facial expressions, gestures, posture, movement, expressive help is required. Distinguishes emotional states and their characteristics, but it is difficult to demonstrate them by means of facial expressions, gestures, movements.4. Musical development 1Improvises to music of a different nature, creating expressive plastic images.Transmits the character of music in free plastic movements.Difficulties in creating plastic images in accordance with the nature of the music. accompaniment to parts of the plot from those proposed by the teacher. It is difficult to choose the musical characteristics of the characters from those proposed by the teacher. 3 Independently uses musical accompaniment, freely performs a song, dance in a performance. With the help of a teacher, uses children's musical instruments, selects musical accompaniment, performs a song, dance. Difficulties in the game on children's musical instruments and the selection of familiar songs for the performance.5. Fundamentals of visual and design activities 1 Independently creates sketches for the main actions of the performance, sketches of characters and scenery, taking into account the material from which they will be made. Creates sketches of scenery, characters and main actions of the performance. Creates drawings for the main actions of the performance. for performances for various types of theater. Creates scenery from various materials according to a sketch or verbal description-instructions. Difficulties in making decorations from various materials.6. Fundamentals of collective creative activity 1 Shows initiative, coordination of actions with partners, creative activity at all stages of work on the performance. Shows initiative and coordination of actions with partners in planning collective activities. Does not show initiative, is passive at all stages of work on the performance Early childhood is an extremely important period in a person's life. This is the time of inclusion in educational activities, the development of theoretical knowledge, rapid physical development. The main psychological neoplasms of primary school age are: the arbitrariness and awareness of all mental processes and their intellectualization, their internal mediation, which occurs due to the assimilation of a system of scientific concepts.
Shyness, according to F. Zimbardo, is “a state of mind and the behavior of animals and humans caused by it, the characteristic features of which are: indecision, timidity, tension, stiffness and awkwardness in society due to self-doubt.”
According to psychologists, correctional work with shy children should be carried out in several directions:
development of positive self-perception;
increased confidence in yourself and your abilities;
developing trust in others;
acting out fears;
removal of bodily tension;
development of the ability to express their emotions;
development of teamwork skills;
development of self-control skills.
collectivity of activity;
Chapter 2. Experimental determination of the influence of theater activity on the development of shyness in younger students
.1 Description of the experimental base and ascertaining experiment
The study was conducted on the basis of educational institution School No. 30 in Krasnoyarsk.
The purpose of the study: to determine the degree of influence of the inclusion of younger students in theatrical activities on the level of their shyness.
The experiment involved 12 people: 7 girls and 5 boys aged 6 to 8 years. The group was made up of second-grade students who, according to the observations of the class teachers, are characterized by excessive shyness.
Diagram 1 - Sex and age composition of the subjects
The study was carried out in three stages:
determining the level of shyness in the experimental group before the start of the experiment;
conducting a series of theatrical classes;
determining the level of shyness after a series of classes.
To diagnose the shyness of younger schoolchildren, we used a complex of two methods, surveys of teachers and parents of the subjects.
The first technique - "What am I" T.Yu. Romanova is used to determine the level of self-esteem of preschoolers and younger students. The methodology contains a separate scale "shyness", the level of which is proposed to be assessed by the student independently. In addition, according to the main characteristics of shyness as a sociopsychological phenomenon, a high level of shyness corresponds to a low level of self-esteem.
The experimenter, using the protocol, asks the child how he perceives himself and evaluates himself on ten different positive personality traits. The assessments offered by the child to himself are put down by the experimenter in the appropriate columns of the protocol, and then converted into points.
Answers like "yes" are worth 1 point, answers like "no" are worth 0 points. Answers like "don't know" and also answers like "sometimes" are estimated at 0.5 points. The self-esteem of the child is determined by the total amount of points scored by him for all personality traits.
Conclusions about the level of self-esteem
scores are very high.
9 points - high.
7 points - average.
3 points - low.
1 point - very low.
The second technique is the method of diagnosing the level of anxiety in the edition of Phillips. The edition of the specified author corresponds to the age characteristics of the group of subjects, includes a separate scale "shyness" for measurement. A high level of shyness corresponds to a high level of anxiety.
The test consists of 58 questions that can be read to schoolchildren, or they can be offered in writing. Each question must be answered with a clear “Yes” or “No”.
When processing the results, questions are selected, the answers to which do not match the test key. For example, the child answered “Yes” to the 58th question, while “-” corresponds to this question in the key, that is, the answer is “no”. Answers that do not match the key are manifestations of anxiety. Processing counts:
The total number of mismatches throughout the text. If it is more than 50%, we can talk about increased anxiety of the child, if more than 75% of total number test questions - about high anxiety.
The number of matches for each of the 8 anxiety factors highlighted in the text. The level of anxiety is determined in the same way as in the first case. Analyzes the overall internal emotional condition schoolchild, largely determined by the presence of certain anxiety syndromes (factors) and their number.
Protocols, stimulus material for both methods are given in Appendix 2.
Important for determining the level of shyness of the subjects is a survey of parents and teachers, helping to clarify the degree of social activity of the child, the level of his sociability, educational success. It is known that a high level of shyness is accompanied by lack of communication, excessive secrecy, lack of outstanding academic success.
The diagnostic results are presented in Appendix 3. Here we also note the general results.
The ascertaining measurement of shyness using the “What am I” method (see Appendix 3. Table 1) showed a high self-esteem in two subjects (16% of the total), an average level of self-esteem in 4 subjects (34% of the total), low self-esteem in six subjects (50% of the subjects). A high level of shyness was found in 6 subjects (50%), an average level of shyness in 4 subjects (33%), no shyness was noted in 2 subjects (17%).
Diagram 2 - The results of the ascertaining measurement of shyness according to the method "What am I"
The ascertaining measurement of shyness according to the Phillips method (see Appendix 3. Table 2) showed a high level of anxiety in 40% of the subjects, anxiety in 47% of the subjects, and a low level of anxiety in 13% of the subjects. Anxiety is accompanied by subjects with problems in building relationships with other people, a high level of fear of self-expression (44% of subjects). A high level of shyness was found in 60% of the subjects.
Diagram 3 - The results of the ascertaining measurement of shyness according to the Phillips method
The final phase of the ascertaining experiment was a conversation with the parents and class teachers of the subjects.
Parents and class teachers were asked the following questions:
How does the child behave in class and at home?
Does the child have many friends among his classmates and peers in general?
Does the child have learning problems?
How does the child relate to strangers, groups?
Is the child sociable?
Do you find your child shy/shy?
The conversation was able to determine the following:
according to the teachers, subjects No. 3,4,8,9 have significant problems in building relationships with others;
according to their parents, subjects No. 1,2,4,5,8,9,10 have excessive shyness, manifested in distrust of new people, unwillingness to remain in a team;
according to the class teacher, subjects No. 3-5, 7,10 experience problems in public speaking, if necessary, answer at the blackboard;
according to the parents, subjects #3-5 have few friends among their peers;
according to the parents, subjects #2-5, 7-10 behave differently at home and at school; lack of sociability at school is replaced by sociability at home;
according to the class teachers, subjects No. 1-3, 6-8 experience difficulties in learning, often make mistakes in completing assignments, forget some school supplies at home, and do not express diligence in the classroom.
2.2 Description of the method of theatrical activity used in the experiment
The study used the methodology of A.P. Ershova "Theatre lessons in elementary school". The choice of this particular methodological tool is due to the extensive experience of testing the means described in it in practice, the positive feedback from teachers working in elementary school.
In addition to this technique, the scenarios of theatrical classes by T.M. Romanova, E.A. Fedorova, O.S. Bausova.
Method A.P. Ershova assumes a comprehensive training in theatrical art and, on its basis, children from the primary school level (grades 1-4).
The purpose of the methodology is: to create a development space for children of primary school age in accordance with their age needs.
The objectives of the methodology are:
familiarity with the basics of theatrical activity;
development of speech activity of younger students;
development of teamwork, cooperation and partnership skills;
development of basic cognitive abilities: thinking, imagination, attention, perception;
civil, legal, moral, aesthetic education;
development of intelligence;
socialization of younger schoolchildren, expanding the circle of their social activity.
Work on the implementation of the tasks in the methodology is implied in several stages:
1. Educational games
The purpose of the introduction of theatrical educational games is to help children and the teacher in creating a psychologically comfortable atmosphere for classes; immerse children in their inherent element of the game, smoothing the scope of the lesson; develop in children memory, attention, will, thinking, imagination.
In a game format, you can submit exercises for the development of diction, articulation, breathing.
Introduction to theater
In the classroom, theatrical terms are mastered: drama theater, puppet theater, radio theater, musical theater, actor, premiere, performance, characters, opera, ballet, etc.
Acquaintance of children with the theater involves watching TV shows, going to the drama theater, listening to fairy tales on record.
Acquaintance with the components of performing activities
This stage includes:
Formation of stage speech;
Plastic expressiveness;
Creative activity;
Formation of the skill of teamwork.
The main task at this stage is the formation of the child's idea of the components of the stage image. Great importance at this stage of the lesson, attention is paid to the plastic solution of this or that image, the role of the costume or its details, etc. Exercise to music at this stage involves the transmission of fabulous images that are distinguished by a special characteristic.
One of the tasks is the formation of aesthetic evaluation skills in younger students. To this end, all the exercises performed in the classroom are discussed (in this case, the children are conditionally divided into two groups, each of which alternately performs the functions of either actors or spectators). The main criterion by which children's work is evaluated at this stage is reliability (veracity of performance).
Theatrical performance activity is based on the development and calculation of the language of action as a particularly expressive material of theatrical art. Children get used to paying attention to the features of actions performed by people: features of plasticity, gaze, speech, costume and facial expressions. They learn to grasp and perform one given action in different ways - to ask, console, listen, find out, etc. Students acquire the ability, having received a performing task and going on stage, to act in truth. The criterion "we believe" - "we do not believe", "grimacing" - "in truth" is being formed.
It is necessary to choose exercises for training arbitrary auditory and visual attention. The subject of attention should also be differences, features of the performance of the same task by different children.
External behavior training should also develop a benevolent attitude towards the work of your classmates, which is especially important during this age period (to support, inspire confidence, interest, and not drown out the emerging need to try, do).
Mastering the means of expression
This stage consists of the following elements:
Formation of the idea of character as a special behavior;
Mastering the working terminology of acting art.
In an atmosphere of benevolent and patient attitude towards each other, children's sensitivity to truthful purposeful action, to its features in facial expressions, gestures, gaze, movement, and speech is formed. Children get used to fantasize about the possibility of different behaviors in similar proposed circumstances and about performing the same actions in different proposed circumstances. This training of the imagination is also served by exercises with voice and speech: speak slowly, quietly, quickly, in a bass voice, they can speak high different people in different circumstances. Speech exercises play an important role in the work on artistic reading.
On this stage the experience of watching performances should be consolidated and expanded. It is useful to go to an already familiar performance for the second time, to give children the opportunity to notice everything different and the same. Here you can also use sketches for a “polite”, good viewer and for a bad viewer. All etude work allows us to introduce an aesthetic criterion for evaluating them when “bad” behavior is played, for example, well, and “good” - bad. So the quality of the performance - "how" - begins to be isolated from the content of the etude - "what" the actor plays. Work on any sketch can include the distribution of functions of the writer, director, actors, artist.
The main directions in the work at this stage are the reliability, truthfulness of performance, expressed in purposeful actions in the proposed circumstances. To this end, children are given a series of exercises that develop precisely these skills:
Speculation of the proposed circumstances;
The story about the hero from his own face;
On behalf of the character who came into conflict with him;
Inventing events before and after the study;
Characterization of the hero in his own speech, etc.
Thus, students gradually form an idea of character as a special behavior. At this stage, the child should already be able to consider the act as an action through which the character of the hero is manifested.
The development of theater education takes place on the basis of deepening and expanding the acquaintance of schoolchildren with dramaturgy and theatrical terminology, its specific and genre features: action, act, dialogue, monologue, director, playwright, artist, costume, decorator, gesture, facial expressions, posture.
The performances show dramatizations of poems, folklore holidays, "village gatherings". Schoolchildren participate in the performance as in a collective work, using the working terminology of acting.
Formation of ideas about the image of the hero in the theater
This stage includes the elements:
Elements of speech expressiveness;
Hero image. The nature and selection of actions;
Theater education;
Gesture, facial expressions, movement, speech are the components of the action;
Creative report.
At this stage, the main criterion for perception is the child's ability to evaluate the expressiveness and originality of each task. To this end, students are asked to complete the same task. various formulations while highlighting performance differences. Theatrical and performing activities of schoolchildren unfold on the basis of the performance of a role according to a drama assignment. The interrelation of the image, text, task, action is mastered. The significance of improvisation-play in theatrical art is revealed, without which it does not exist, but which can be appreciated. Students get acquainted with the influence of history, environment, character, situation, on the logic of the character's behavior.
The work is based on exercises related to the game embodiment of a dramatic task:
Noises on remarks;
Monologues;
The logic of action in the dialogue;
Playing with the elements of the costume;
Logic of behavior and costume;
Etudes based on the play;
Improvisation under given circumstances.
At this stage, practical skills are laid to prepare children for the perception of a holistic image of the performance as a collective creativity; feasible participation in all stages of preparation, including registration. Children select and create a costume, scenery, props, sound design for the performance, for their sketch productions.
The skills of creative discipline are being formed: a feeling of "pain" for collective work and awareness of the need for one's participation in it; knowledge of the text of the role (not only one's own, but also partners), readiness to help one's comrade at any time, and, if necessary, to replace him.
Table 2 - Thematic lesson plan for theatrical activities in elementary school according to the method of A.P. Ershova
Class No. The name of the stage of training in theatrical activity Stage elements Number of hours 1 class Educational games exercises for the development of memory, attention, will, thinking, imagination; exercises for the development of diction, articulation, breathing. 16 hours Acquaintance with the theater 18 hours 2 class Acquaintance with the components of performing activity - Formation of stage speech; - Plastic expressiveness; - Creative activity; - Formation of the skill of teamwork. 8 hours 6 hours 11 hours 10 hours Total: 34 hours 3 class Mastering the means of expression - Elements of speech expressiveness; - Formation of the idea of character as a special behavior; - Mastering the working terminology of acting art. 7 hours 12 hours 8 hours Total: 27 hours 4 class Formation of ideas about the image of the hero in the theater - Elements of speech expressiveness; - The image of the hero. The nature and selection of actions; - Theater education; - Gesture, facial expressions, movement, speech - the terms of the action; - Creative report. 4 hours 10 hours 6 hours 4 hours 10 hours Total: 34 hours
The end of training in this program should, in the author's opinion, include a final theatrical production - a public defense of the skills formed during the classes.
2.3 Description of the formative experiment and interpretation of its results
In order to determine the effectiveness of theatrical activity in the course of eliminating excessive shyness in younger students, we conducted a series of theatrical classes aimed at developing stage speech, plastic expressiveness, creative activity, and teamwork skills. Appendix 1 contains scenarios for some theatrical performances that we used in the course of classes, built according to the program of A.P. Ershova.
The work was carried out over four weeks. A summary of its progress is given in the table below.
Table 3 - Report on practical work in a general education institution
WeekLessonDescription1 week1 lessonWork on articulation. Gymnastics for lips, tongue, jaw. Breathing exercise. Exercise "and, a, o, y, s"; the sound of simple and iotated vowels: "uh, a-ya, o-e, u-yu, s-y"; hard and soft consonants: “pe-pe, pa-pya, po-pe, pu-pyu, py-pi”. The image of voice gestures in the letters o, u, i, e. Letter sound associations (wind, howl, wolf, bee buzzing, etc.). Images of letters (what it looks like). Activity 2 Acquaintance with Russian children's folklore through work on tongue twisters. Dramatization based on the work of K. Chukovsky "Telephone". Watching the theatrical production of K. Chukovsky's "Fly-Tsokotuha". 2 week 3 lesson Going to the theater to the production of "Cinderella" 4 lesson Discussion of the theatrical production of "Cinderella". Playing out a dramatization of a viewed fairy tale. 3 week 5 lesson Exercises for plasticity, expressiveness of facial expressions. Exercises for the development of attention and perception. Theatrical improvisation6 lessonVocal exercises. Acting out a dramatization based on the epic "Sadko" 4 week 7 lessonPreparation for the final production according to T.M. Romanova "Playing the circus" 8 lesson Final statement according to T.M. Romanova "Playing in the circus"
The main task in such a short period of time was to expand the children's ideas about the theater and create a favorable atmosphere in the experimental group, allowing the child to show his abilities to the full without hesitation. The exercises that we took from Ershov’s methodology and included in practical work were aimed, on the one hand, at developing the child’s physical abilities, his cognitive abilities, articulation, etc., and on the other hand, at developing an understanding of the value of himself as such and the possibility of positioning his own abilities in collective, in society.
Tasks aimed at the formation of individual elements of the ability to play in the theater were given without any problems. The situation was more complicated with dramatizations and productions, in which each individual child had to act independently. It became possible to overcome these difficulties only after several days of joint training. The decisive factor in the formation of the collective community was the trip to the theater and the analysis of the individual components of the performance in the classroom later.
The next stage of the experiment was a control measurement of the level of shyness of the subjects. Diagnostics was carried out using the same methods as in the case of the ascertaining experiment.
The results of the control measurement are given in Appendix 3.
A survey using the “What Am I” method (see Appendix 3. Table 3) showed a high level of self-esteem in seven subjects (58%), an average level in three subjects (25%), and low self-esteem in two subjects (15%) . Compared with the ascertaining measurement, the indicators "skill" and "hard work" have grown sharply. A high level of shyness was found in two subjects (15%), an average level of shyness - in six subjects (50%), no shyness - in four subjects (35%).
The study according to the Phillips method (see Appendix 3. Table 4) showed the following results. A high level of anxiety was found in 32% of the subjects, an average level of anxiety - in 35%, a low level of anxiety - in 33% of the subjects. The fear of self-expression was revealed in 20% of the respondents. Compared with the ascertaining measurement, the indicators "skill" and "hard work" have grown sharply. A high level of shyness was found in 35% of the subjects.
Let's compare the results of ascertaining and control measurements.
Diagram 4 - Comparison of the results of ascertaining and control measurements according to the "What am I" method
Diagram 5 - Comparison of the results of ascertaining and control measurements according to the Phillips method
Comparison of the results according to the first method showed that the level of self-esteem in children increased during the experiment, and the level of shyness decreased. According to the results of the second diagnosis, during the experiment, the level of general anxiety among the subjects decreased, and the level of shyness decreased.
theatrical activity student shyness
The role of the teacher in the process of organizing and developing theatrical activities on the basis of an educational institution is extremely important. The developmental effects of theatrical activities and their role in the education of younger schoolchildren have already been noted above. In order for these effects to be achieved, it is desirable to have a teacher - the head of the children's theater (director), who would not only conduct special theatrical classes with children, but also correct the actions of all teachers who carry out solving problems in theatrical activities.
The teacher of children's theater helps to change traditional approaches to the organization of educational activities, to involve other teachers in the work on theatrical games, classes, performances. Its goal is not to be limited to screenwriting, directing, staging work with child actors, but through all types of activities to promote the formation of creativity in children.
The teacher himself needs to be able to read expressively, tell, look and see, listen and hear, be ready for any transformation, i.e. master the basics of acting and directing skills. One of the main conditions is the adult's emotional attitude to everything that happens, sincerity and genuineness of feelings.
The teacher must be extremely tactful. For example, the fixation of a child's emotional states should take place naturally, with maximum benevolence on the part of the teacher, and not turn into facial expressions lessons.
The work of a teacher in organizing theatrical activities imposes some obligations regarding the methods and tools of work used by him. So, the teacher in elementary school should:
create conditions for the development of children's creative activity in theatrical activities (to be free and liberated when performing in front of adults and peers (including giving the main roles to shy children, including children with speech difficulties in performances, ensuring the active participation of each child in performances);
encourage improvisation by means of facial expressions, pantomime, expressive movements and intonations (when conveying the characteristic features of characters, their emotional states, experiences; choosing dramatization plots, roles, attributes, costumes, types of theaters);
introduce children to theatrical culture;
to ensure the relationship of theatrical activities with other types (the use of a dramatization game in classes for the development of speech, music, art work, reading fiction, organization of a plot-role-playing game, etc.);
create conditions for joint theatrical activities of children and adults (performances with the participation of children, parents, employees; organization of performances by children of older groups in front of kids, etc.).
During class you must:
listen carefully to the answers and suggestions of the children;
if they do not answer, do not require explanations, proceed to actions with the character;
when introducing children to the heroes of works, allocate time for them to act or talk with them;
ask who turned out similar and why, and not who did better;
in custody different ways make children happy.
For the proper organization of theater classes, it is recommended to take into account following principles:
The daily inclusion of theatrical games in all forms of organization of the pedagogical process, which will make them as necessary as didactic and role-playing games.
Maximum activity of children at all stages of preparation and conduct of games.
Collaboration of children with each other and with adults.
Preparedness and interest of educators. All games and exercises in the lesson are selected in such a way that they successfully combine movements, speech, facial expressions, pantomime in various variations.
But the requirements are not only for personal and professional qualities teacher, but also to the environment organized by him:
In theatrical activity, in close interaction with the development of creative abilities, all aspects of the child's personality are formed; imagination enriches the interests and personal experience of the child, through the stimulation of emotions forms consciousness moral standards.
The mechanism of imagination in theatrical activity actively influences the development of the emotional sphere of the child, his feelings, the perception of the created images.
With systematic theatrical activities, children develop the ability to actively use various types of sign-symbolic functions, the ability to create images and effective imagination mechanisms that affect the development of creative imagination.
Theatrical games should be of different functional orientation, contain educational tasks, act as a means of developing the child's mental processes, feelings, moral concepts, knowledge of the world around.
It is necessary to approach the organization of theatrical activities taking into account the age and individual characteristics of children, so that the indecisive ones develop courage, confidence, and the impulsive ones - the ability to reckon with the opinion of the team.
Theatrical games should be different in their content, carry information about the surrounding reality, a special selection of works of art is necessary, on the basis of which plots are built.
Conclusion
Early childhood is an extremely important period in a person's life. This is the time of inclusion in educational activities, the development of theoretical knowledge, rapid physical development. The main psychological neoplasms of primary school age are: the arbitrariness and awareness of all mental processes and their intellectualization, their internal mediation, which occurs due to the assimilation of a system of scientific concepts.
Shyness, according to F. Zimbardo, is “a state of mind and the behavior of animals and humans caused by it, the characteristic features of which are: indecision, timidity, tension, stiffness and awkwardness in society due to self-doubt.”
Shyness negatively affects the development of younger students. Shyness:
creates social problems, difficulties in communication, in establishing friendly relations with peers;
has negative emotional consequences - depression, isolation, loneliness;
creates difficulties in expressing one's own opinion, assessment, feelings, in showing initiative;
limits the positive assessment by others of the personal achievements of shy people and their self-esteem;
contributes to the formation of incorrect assessments of the personality of a shy person, who can be perceived as arrogant, unfriendly, boring, weak;
creates difficulties in mental activity in the presence of other people and alone with oneself;
associated with the manifestation of uncontrolled physical arousal, increased heart rate and respiration.
According to psychologists, correctional work with shy children should be carried out in several directions:
development of positive self-perception;
increased confidence in yourself and your abilities;
developing trust in others;
acting out fears;
removal of bodily tension;
development of the ability to express their emotions;
development of teamwork skills;
development of self-control skills.
One of the options for a pedagogical tool for combining all these areas can be theatrical activity.
Involving a child in theatrical activity allows you to develop his communication skills, expand the area of social contacts, give you the opportunity to show your creative abilities, your emotions. The great developmental potential of theatrical activity lies in:
collectivity of activity;
elements gaming activity;
the need to act and communicate;
independence of choice and organization of one's own participation in activities;
the need to activate cognitive abilities.
In order to determine the degree of influence of theatrical activities in the learning process on the level of development of shyness in junior schoolchildren, we organized and carried out experimental work. It included three stages.
At the first stage, using diagnostic methods, the actual level of shyness in the experimental group was determined. At the second stage, the method of theatrical activity was tested in the elementary school of A.P. Ershova. At the third stage, a control measurement was carried out, which made it possible to determine the success of the work done.
The experiment was carried out on the basis of secondary school No. 30 in Krasnoyarsk. The experiment involved 12 people: 7 girls and 5 boys aged 6 to 8 years. The group was made up of second-grade students who, according to the observations of the class teachers, are characterized by excessive shyness.
The ascertaining measurement of shyness showed the presence of low self-esteem in the subjects, an overestimated level of anxiety, and fear of self-expression. In addition, a conversation with teachers and parents of the subjects demonstrated that the subjects had difficulties in communicating with other people, low results in educational activities. A high level of shyness was found in 50% of the subjects according to the first method and in 60% of the subjects according to the second.
The study used the methodology of A.P. Ershova "Theater Lessons at the Lessons in Primary School". The choice of this particular methodological tool is due to the extensive experience of testing the means described in it in practice, the positive feedback from teachers working in elementary school.
The objectives of the methodology are: acquaintance with the basics of theatrical activity; development of speech activity of younger students; development of teamwork, cooperation and partnership skills; development of basic cognitive abilities: thinking, imagination, attention, perception; civil, legal, moral, aesthetic education; development of intelligence; socialization of younger schoolchildren, expanding the circle of their social activity.
We conducted a series of classes based on this technique, aimed at getting to know the theater and theatrical activity in general, mastering the means of expression, forming ideas about the image of the hero in the theater, and getting to know the components of performing activity. The main tasks were implemented with the help of gaming activities, improvisations, theatrical dramatizations and performances, viewing performances.
The results of the control measurement showed an increase in the level of self-esteem, a decrease in the level of anxiety and shyness. A high level of shyness was detected in 30% of the subjects according to the first method and in 35% of the subjects according to the second method.
Comparison of the results of ascertaining and control measurements prove the expediency and effectiveness of using theatrical classes as a means of overcoming shyness in younger students.
Based on the analysis of literary sources, observation of the ways of organizing theatrical classes at school, we formulated the main methodological recommendations for the inclusion of theater classes in the educational process of elementary school:
it is necessary to take into account the age characteristics of the development of students in the process of designing classes;
classes should be based on game elements, theatrical improvisations, theatrical dramatizations and performances;
it is important to organize a favorable atmosphere for the collective activities of the theater group, to include peers and adults in theatrical performances;
to achieve positive effects, it is necessary to coordinate the activities of all teachers, one way or another involved in the educational process;
it is necessary to expand the social experience of the student, to form a critical attitude towards theatrical productions.
Thus, it can be argued that the hypothesis formulated at the beginning of the study has been proved, all the tasks set have been fulfilled.
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Annex 1
Scenarios of theatrical classes according to the method of A.P. Ershova
Circus game (according to T.M. Romanova)
Decor. A curtain, cubes on which children sit, balloons, multi-colored foil circles on the walls.
attributes. Paper pigeons, hoops, fans, fake weights, clown masks, posters, scooters, puppet dolls (horse, cow, snakes, tiger, lion, monkeys).
Members. Clown Bom - adult; Clown Beam - adult; Fakir - adult; Policeman - adult; Bear Masha - adult;
Children: the director of the circus, strongmen, aerialists, polar bears, a trainer with pigeons, snakes, an animal trainer with dogs, a cowboy with a cow, monkeys, a tiger and a lion.
Cheerful music sounds.
A child comes out with circus posters, children with circus decorations (bows, braids, caps, top hats, ties, glasses, ears) run up to him.
Read in order.
Child-reader 1 It is impossible not to love the circus, The circus is certainly a holiday, To meet him, friends, didn’t you dream?
Child-reader 2 I remember a long time ago My mother smiled at me, - Tomorrow we are going to the circus, There is a new program there.
Child-reader 3 Circus is a must Smile and enthusiasm. There the magician will surprise you, And the juggler will surprise you.
Child-reader 4 There will be courage on the parade, There the acrobat is spinning somersaults, There everything that the clown does is Ridiculous and out of place.
Child-reader 5 A cheerful circus is visiting us, A juggler throws balls, And a clown makes the audience laugh, Makes big and small laugh.
Child-reader 6 Here on the tightrope the acrobat Spread his arms to the sides. The strongman is trying to lift the new steel weights.
Child-reader 7 Horse riders Ride merrily in a circle, And we eat ice cream And clap to the song.
The music is loud, the children run to their places. The introduction to the song "Circus" sounds, the director of the circus opens the curtain.
Director Hello, hello, hello! The circus lights up! The performance Merry Now will begin. There will be acrobats, Jugglers, jumpers And everyone, and all the guys Must see them. Listen! Listen! The circus has arrived. Clap, clap dear guests!
Children perform an exercise to the song "Circus" muses. V. Shainsky, sl. M. Plyatskovsky with balloons(decorated to look like clowns), at the end they throw balls to the audience.
Director And how without jokes? If the circus is a performance. We didn't come here to cry. And there is no circus without cheerful smiles, and therefore - give music!
Children sing the song "Hello, circus!" sl. and music. Z. Root.
Director Today at the circus arena the favorites of the public Bim and Bom!
Bom (looks out from behind the curtain) I'm a cheerful clown Bom, Here I am in front of you.
Bim (runs out) Meet another clown, guys. I'm a cheerful clown Bim helping his brother.
Bom Hello guys I came to you today.
Bom And I flew to the moon today!
Bom And I fell out of bed!
Bom And I rode a pig!
Bom And now I overate on pies in the buffet!
Bom And I need to sing a song!
Beam And me! (arguing among themselves)
A police whistle is heard, a policeman comes out of the hall.
Policeman This is what kind of artists showed up? All sorts of people go here. Well, I’ll pick up from the stage, hello.
Bim and Bom We are really people's circus performers. But who are you? We do not know.
Policeman I'm on guard here. How do you prove that you are an artist?
Bim and Bom with their art. Here's a magician.
Policeman Drop it. I know these magicians. I've seen them in my lifetime. I remember how one magician called a boy from the auditorium and said to the boy: "Can you confirm that you are seeing me for the first time?" - Yes, dad! Let it be better acrobats - strongmen prove. (Sits down to the audience.)
BIM Please, strong men, so strong men.
Director Now we will introduce you to the famous strong man, He plays with a three-pound kettlebell like with a ball.
Strong men perform with fake weights.
Bom Well, how did you believe it?
Policeman Not quite yet. Do you have gymnasts?
Bim And what about not just gymnasts, but also aerial ones.
Dance of girls with hoops and girls on a rope with fans.
Bim And we also have trained ...
Policeman (shaking) Trained speak! Enough, enough! That is, grab, grab (points to the throat).
Bom No one will catch you. These are trained dogs!
Policeman Well, let's believe it. In general, I respect dogs. Especially small ones, and very, very small ones.
The trainer comes out.
Trainer I didn't come to you alone, I brought guests with me. Not ordinary guests - Trained animals. Whom - I won’t say, But I’ll tell you a riddle: Four fours, Two spreaders, And one spinner.
Who is this? That's right - this is a dog, her name is Bug. She knows how to count. Be careful, make sure that the Bug is not mistaken.
A child with a dog (puppet puppet) runs out from behind the curtain, barks.
Trainer So, fours are the paws of a dog. How many paws does a dog have?
The bug barks 3 times.
Child Wrong Bug (shows a card), not three, but four.
Animal trainer How many more times should the Bug bark?
Child One time.
Rastopyrki's trainer is the dog's ears. How many ears do dogs have.
Bug Barks 2 times.
Child (shows card "2") That's right Bug!
The trainer Vertun is the dog's tail. How many tails does she have?
The bug wags its tail.
Child (shows "1") I know how much!
Trainer Well done! Well, you and Bug know how to count.
Sounds "Dog Waltz". Children take dogs (puppets) out from behind the curtain. Dogs dance, spin, walk on their hind legs. The trainer lays out cubes on the floor.
Trainer Well, count how many cubes are here? (Dogs bark.) One, two, three, four, five - You can count everything! How many corners are in the room? How many legs do sparrows have? How many fingers are on the hands? How many tails do two donkeys have? How many suns are in the sky? How many lights does a traffic light have?
The dog does not bark correctly, the children answer correctly; "Dog Waltz" sounds, the dogs leave.
Director Today and only today, Once and only for you A magician from India performs. Hello! Now we will simply surprise everyone with miracles. A well-known fakir will show you tricks.
Music sounds. Speech by a fakir with snakes. (Children put snakes sewn from fabric on their hands, perform hand movements from behind the curtain to the music).
Bim You found out what the next number will be.
Bohm got it.
BIM Well what?
Bom The number is right - cool and truly circus.
Bim And here all the guys love the circus very much, they not only know all the circus numbers, they know all the artists.
Boom Everyone?
Beam One and all! Do not believe. And now we will check it.
Bohm How so?
Beam A is very simple. I have a song about the circus, you know it.
Bohm So she's without the last line.
Bim And the guys will find this last line for us. There are only two words "yes" or "no" in it. Well, how does it fit?
Children OK.
BOMM Then start.
It sounds like a fun tune. The clowns sing the song in turn, and the children sing the last line.
Two sisters Tanya and Vanya And Seryozha, their neighbor, Once they visited the circus Did they get bored there? No.
Where did they ask our chairs, And sit down here. The circus is very interesting Was they tell? Yes.
The sounds of the march sounded, A bright light sparkled. And did the guys in our hall get scared? No.
It became joyful for the guys. Good as never before. Acrobats come out here. Are you happy for them too? Yes.
Their number was very difficult. Dexterity - that's his secret. You friends could too How do artists jump? No.
Then Sergey said: "Everything is clear. The number requires work." Do you agree with Serezha, or not, guys? Yes.
And then the athlete began to toss big weights. Three at once, then four. Would you be able to? No.
And Valya said to Galya When did they go home. So we visited the circus Is it good for children there? Yes
Beam How are you?
Bom I was convinced that the guys in the circus both know and love. And let's not keep them waiting. A cheerful cowboy with a cow is performing.
Children dance to the song "Cowboy" (audio recording).
Director We continue the presentation to the children to everyone's surprise. Performing in the arena: Well "savvy", Animals trained.
A trainer with a lion and a tiger performs to the music (children control puppets). Performance of children with monkeys.
Bom And now together Focus will show you Bim ...
Beam and Bom. (Brings a basket with a double bottom.) Here is a basket - straight from the store. Look at the bottom ... (To the children.) It is both empty and dark.
Bohm Let's count one, two, three Look what's inside?
Children White bear at the bottom, Stretched out in a sweet dream. (They take out a polar bear.)
Director Bim, and revive the bear.
Bim One, two, three - bear, revive.
To the music, two polar bears drive on scooters. Tumbling, dancing.
Bom And now in the arena of our Bear Masha will perform.
The bear is dancing.
Beam Come on, Masha, show me how they go to work? (Walks slowly.) How about work? (The bear runs away.)
Bom Let there not be gloomy faces In this hall among the guys.
Bim Let Yura, Nyura, Gali, Vali, Shura, Mura laugh, And in short, everything in a row.
Song about the circus "Come to the circus soon" op. and music. Z. Root.
Bom Bim, let's announce the next number of our performance together.
Together Now ... (name) will perform before you with his trained pigeons.
Dance with paper doves.
Director Parade - hello!
Announces all participants in the circus program, the artists pass through the arena and leave, only clowns remain.
Director The program was led by the director of the circus ... (name), Bim and Bom.
The song "Where did the circus go" sounds, the clowns say goodbye to the audience.
Performance based on the epic "Sadko"
Characters: Sadko Narrator Merchants - 3 Squad - 3 Maidens - 6 Tsar Sea Fish Medusa Seahorse Stars of the Sea Gypsies of Volkhov Sea Girls
Scenery: Plane depiction of temples, a belfry, a "view of the city" of Novgorod, a boat, a stone, objects for the fair, a table for a feast, the seabed, the throne of the King of the Sea, a barrel, a chest.
A combatant comes out with a letter, reads: Oh, you are a goy, but honest people, listen to the story of a rich guest, who was called Sadko the gusler, and that he lived in the glorious Novograd.
Shows the poster "Sadko - Novgorod epic". Russian folk melody sounds.
From behind the scenery of the city, children appear, depicting the people, in Russian costumes. A buffoon runs out into the square, somersaults. People are walking around the square. The Storyteller sits on a stone.
Narrator In glorious Novograd How was Sadko the merchant, a rich guest. And before Sadko was poor - Some were guselki yarovchaty. Sadko went to feasts and played. Sadko day is not invited to the honorary feast, Another is not invited to the honorary feast And the third is not invited to the honorary feast.
Sadko comes out with a harp, walks around the city, approaches the people.
Storyteller And then Sadko got bored. As Sadko went to Ilmen-lake, He sat down on a white-combustible stone And began to play guselki yarovchata.
Sadko sits on the shore, imitating playing the harp. Sounds "Song of Sadko" from Rimsky-Korsakov's opera, playing the harp.
Narrator As soon as the water stirred in the lake, the King of the Sea appeared. I left Ilmen from the lake. He himself said those words.
Music "Sea" from the opera "Sadko" by Rimsky-Korsakov. Girls representing the sea are dancing. The dance conveys the nature of the music "Sea" (1st girl - calm sea, 2nd - waves, 3rd - storm) The color of the fabric on the costumes "Sea" corresponds to the nature of the music.
The King of the Sea appears with a trident in his hands.
Tsar Ay you, Sadko of Novgorod, How I know how I will welcome you. For your great successes, For your gentle game. I'll give you three fish-golden feathers, Then you, Sadko, will be happy.
Disappears in the waves of the sea.
The storyteller Sadko went from Ilmen from the lake, As Sadko came to his Novgorod.
Sadko goes to the city, stands on a barrel, loudly calls the merchants. Three merchants arrive.
SADKO Ay you, merchants of Novgorod, As I know the miracle-wonderful in Ilmen-lake; And there is fish-golden feathers In Ilmen-lake.
Merchant 1 You don't know the miraculous...
Merchant 2 It can't be in Lake Ilmen...
Merchant 3 Pisces-golden feathers.
SADKO Ay, you merchants of Novgorod, What are you fighting with me about? O big bet? I'll lay down my wild head, And you lay down the shops of red goods.
Merchants drop their hats.
Merchants Let's set up three shops of red goods (bring a net), Let's go fishing in Lake Ilmen (leave).
Music sounds - the introduction to the song "Perch Fish" Russian folk melody. Merchants bring in a boat, in the hands of a net, they sing with movements.
Merchant You, fish, perch fish, You, fish, will get caught in the net, You, fish, will get caught in the net, You will get caught, fish, you will get caught.
And merchant Nevodochka, we all knitted, From flax we twisted strong threads, From flax we twisted strong threads, And we knitted ropes from threads.
And the merchant They threw the net into the river far, They threw the net into the river far, They didn’t catch anything in the net, They didn’t catch anything in the net.
Three fish hid behind the girls representing the sea.
Narrator They threw a tonka into Ilmen-lake, Got a fish-golden feathers. They threw another tonka into Ilmen-lake, Got another fish-golden feathers. The third one was thrown into Ilmen-lake, They got the third fish-golden feathers.
The dance of the fish.
At the end of the dance, the fish girls fall into the merchants' net.
Merchants That was joy!
They take the boat away, the sea girls run away.
Russian folk melody sounds. Girls bring in a cloth-tablecloth, merchants, guests bring dishes: fruits, swan, wooden utensils.
The storyteller How Sadko began to play here In the gusli of the yarovchats, And the people to have fun and dance.
Music "Pskov tunes" (harp).
Scene "Feast"
Dance of buffoons, music. "Lady".
Round dance of girls "Is it in my garden" (sing, movements with handkerchiefs according to the text).
The music is "Gypsy dance" (Children dance a gypsy dance).
Merchants come out one by one, begin to brag.
Merchant 1 And I have a countless treasury of gold.
Merchant 2 I will surprise everyone with strength, valiant prowess.
Merchant 3 Yes, your wealth is not wealth, But my wealth is a good horse.
Merchant 4 And I have a beautiful young wife.
Sadko And what should I brag about, Sadko, what should I brag about? Does my gold not change? And with my countless gold treasury I'll redeem Novgorod goods, Good and bad goods.
Merchants Let's hit on a great mortgage.
Merchants drop their hats.
The storyteller Sadko got up early the next day. He woke up his good squad. He also gave the golden treasury And dismissed it through the shopping streets, And Sadko himself right into the living room.
Sounds music from the movie "Ivan Vasilyevich Changes Profession" ("Marusya sheds tears of happiness").
The heroes show their strength and bring in a rook.
Scene "Fair"
Barkers 1. Come into the living room! Fair! 2. Fly in, buy! 3. Fly in! 4. I would wear it myself, but there is not enough money! 5. Fair! Fair!
Music Russian folk melody. Vendors sell goods.
Seller Painted fabrics, overseas silks, Yes, our Ivanovo ones are better For ladies on a cap, For girls on a sundress.
Th seller Hey people, my goods All goods goods! Strong chest With a barn lock! What you don’t put in it Will be new until 100 years old, And if you don’t put anything in it, There will be something to lay your head on. To whom is the chest?
Y seller What is your chest, Here is my product - A lot of river pearls! The lid opens, the product is selected.
Vigilantes and Sadko buy goods and carry them in the boat. They take a card, sit down and look at it.
Combatant 1 Let's go, Sadko, along the Volkhov, From the Volkhov to Ladoga.
Druzhinnik 2 And from Ladoga to the Neva River, And from the Neva River to the blue sea.
Sadko We'll get great profits And we'll go back to Novgorod.
They sit in the boat. Music from the opera "Sadko" by Rimsky-Korsakov, "The Sea". Dance: the sea girls are dancing. The combatants have boats on sticks. They depict, as it were, ships sailing on the waves. Storm - the rook sways harder. Sea girls take Sadko away.
Sadko (to combatants) It can be seen the King of the Sea Requires a living head in the blue sea.
The sea girls swirl around Sadko and run away, leaving him asleep. (He lies to the side, with his head on the harp.)
Scene "Seabed"
Dance "Seabed", music. "Aquarium". (Jellyfish, fish, seahorse.)
Narrator Sadko woke up in the blue sea. In the blue sea, at the very bottom. I saw Sadko in the blue sea, There is a white-stone chamber.
Sadko wakes up, approaches the Tsar.
Tsar Ay you, Sadko-merchant, Rich guest! For centuries you, Sadko, traveled by sea, You did not pay tribute to me, the king. And he came to me as a gift. Play me guselki yarovchaty.
Recording Russian folk melody - "Gusli". Sadko plays. Dance of the Sea King.
Tsar Would you like to marry in the blue sea On a sweetheart, on a red girl, Beautiful Volkhov girl?
Sadko (sits down, sadly) I have no will of my own, in the blue sea.
Music sounds, harp. "Play" sea girls. Dance with headscarves. Sadko falls asleep. Volkhova approaches Sadko and sings "Lullaby".
Narrator Dream walked along the shore, slumber through the meadow. And the light of the sea, Princess Volkhova, Scattered by the scarlet, morning mist over the meadow And turned into the Volkhov River.
The girl holds out a ribbon in the form of a river. Sadko walks along it to the image of the city.
The storyteller Sadko found himself in Novograd, Met a squad from the Volkhov, Unloaded the treasury from his ships, Yes, he built a cathedral church to Mikola Mozhaisky.
Vigilantes approach Sadko. Bell ringing.
Sadko I won't go to the blue sea anymore. I will live and live in Novograd.
The music "Is it in my garden" sounds.
All participants leave. They sing "Glory in heaven to the beautiful morning", "Magnificent", arr. V. Agafonnikova.
Bow and leave.
Appendix 2
Methods for diagnosing the levels of shyness in younger students
Method "What am I"
Protocol to the methodology "What am I?"
No. Assessed personality traits Assessments on a verbal scale Yes No Sometimes I don't know 1 2 3 Good Kind Smart 4 5 6 Shy Obedient Attentive 7 Polite 8 9 10 Skillful (capable) Hardworking Honest
Conclusions about the level of self-esteem
scores are very high.
9 points - high.
7 points - average.
3 points - low.
1 point - very low.
Phillips Anxiety Diagnosis Method
Instruction: “Guys, now you will be offered a questionnaire, which consists of questions about how you feel at school. Try to answer sincerely and truthfully, there are no right or wrong, good or bad answers. Don't think too long about the questions.
When answering a question, write down its number and the answer "+" if you agree with it, or "-" if you do not agree.
Factors number of questions 1. General anxiety in school sum = 222. Experience of social stress5. 10, 15. 20, 24. 30, 33, 36. 39, 42, 44 sum = 113. Frustration of the need to achieve success1. 3, 6. 11. 17. 19, 25, 29, 32, 35, 38, 41, 43; sum = 134. Shyness 27, 31, 34, 37, 40, 45; sum = 65. Fear of self-expression 2, 7, 12, 16, 21, 26; sum = 66. Fear of not meeting the expectations of others3,8,13,17.22; sum = 57. Low physiological resistance to stress9,14.18.23.28; sum = 58. Problems and fears in relationships with teachers2,6,11,32.35.41.44.47; sum = 8
1 -7-13-19-25 +31 -37-43 +49-55-2 _8-14-20 +26-32-38 +44 +50-56-3-9-15-21 -27-33-39 +45-51 -57-4-10-16-22 +28-34-40-46-52-58-5-11 +17-23-29-35 +41 +47-53-6-12-18-24 +30 +36 +42 -48-54-
Questionnaire text
Do you find it difficult to keep up with the whole class?
Do you get nervous when the teacher says he is going to test your knowledge of the material?
Do you find it difficult to work in the classroom the way the teacher wants?
Do you sometimes dream that the teacher is furious because you don't know the lesson?
Has anyone in your class ever hit or hit you?
Do you often wish your teacher would take your time explaining new material until you understand what he is saying?
Are you very anxious when answering or completing a task?
Does it happen to you that you are afraid to speak up in class because you are afraid of making a stupid mistake?
Do your knees tremble when you are called to answer?
Do your classmates often laugh at you when you play different games?
Do you ever get a lower grade than you expected?
Do you worry about the question of whether you will be left for the second year?
Do you try to avoid games where choices are made because you are usually not chosen?
Do you sometimes tremble all over when called to answer?
Do you often get the feeling that none of your classmates want to do what you want?
Do you get very nervous before starting a task?
Is it hard for you to get the grades your parents expect from you?
Are you afraid at times that you will feel sick in class?
Will your classmates laugh at you, will you make a mistake when answering?
Are you like your classmates?
After completing a task, do you worry about how well you did it?
When you work in class, are you sure that you will remember everything well?
Do you sometimes dream that you are at school and cannot answer the teacher's question?
Is it true that most guys are friendly to you?
Do you work harder if you know that your work will be compared in class with your classmates?
Do you often wish you were less anxious when asked questions?
Are you afraid to get into an argument at times?
Do you feel your heart start beating fast when the teacher says he is going to test your readiness for the lesson?
When you get good grades, do any of your friends think you want to curry favor?
Do you feel good with those of your classmates whom the guys treat with special attention?
Does it happen that some guys in the class say something that hurts you?
Do you think that those students who do not cope with their studies lose their disposition?
Does it seem like most of your classmates don't pay attention to you?
Are you often afraid to look ridiculous?
Are you satisfied with the way teachers treat you?
Does your mother help in organizing evenings, like other mothers of your classmates?
Have you ever worried about what others think of you?
Do you hope to study better in the future than before?
Do you think that you dress for school as well as your classmates?
When answering a lesson, do you often think about what other people think about you at that time?
Do bright students have any special rights that other children in the class do not have?
Do some of your classmates get angry when you manage to be better than them?
Are you satisfied with the way your classmates treat you?
Do you feel good when you are alone with a teacher?
Do your classmates sometimes make fun of your appearance and behavior?
Do you think you're more worried about your school stuff than other kids?
If you can't answer when asked, do you feel like you're about to cry?
When you lie in bed at night, do you sometimes worry about what will happen at school tomorrow?
When working on a difficult task, do you sometimes feel like you completely forgot things that you knew well before?
Does your hand tremble slightly when you are working on a task?
Do you feel nervous when the teacher says he is going to give the class an assignment?
Does testing your knowledge at school scare you?
When the teacher says that he is going to give the class an assignment, do you feel afraid that you won't be able to do it?
Have you ever dreamed that your classmates can do things that you can't?
When the teacher explains the material, do you think that your classmates understand it better than you?
On your way to school, are you worried that the teacher might give the class a test paper?
When you complete a task, do you usually feel that you are doing it poorly?
Appendix 3
The results of the diagnosis of shyness
The results of the ascertaining measurement of shyness according to the method "What am I"
No. Name test / evaluated qualities good-shaped, obediently obsolete, loving, smitheless, trifling number of points b.0.510.5110.50.500052kate s.10.50.50.50.500.500.553 Iigory С.50.501000.5000.534Yulya B.10.50.50.50.50.565DAM .501000.55.56 SASSASH C.0.500.51000.5000.537MAXIM K.000.50.50.500.500.50.50 .51812Katya O.11100.50.510.5118
The results of the ascertaining measurement of shyness according to the Philips method
№ Имя испыт / Факторы тревожности Общая тревожностьПереживание социального стрессаФрустрация потребности в достижении успехаЗастенчивостьСтрах самовыраженияСтрах не соответствовать ожиданиям окружающихНизкая физиологическая сопротивляемость стрессуПроблемы и страхи в отношениях с людьмиЧисло несовпадений по шкалам1Аня Б.1486433442Катя С.1567554343Игорь П.1775432354Юля Г.1775542355Дима Б.1196643256Саша С.1267634347Максим К .1667542258Olya V.1878433269Yulya S.177115333410Katya B.1558242011Masha K.10562322312Katya O.85522212
The results of the control measurement of shyness according to the method "What am I"
No. Name tests / Assessed qualities good-shaped, obsolete, obsolete, worshiping, ugly, labor-loving number of points b.110.5110.51110.572katy p.10.50.500.50.50.50.56.53 IGOR P.0.50.500.5100.54.54.54YULALYA G.10.50.510.54.54YULALYA B.110.50.50.5010.50.576 SCASAS C.510.500.50.50.50.50.50.50.57MAXIM K.0.50.50.50.500.510.504.58OLAB B.0.50.5110.50.50.5169YULA s.110.510.5110.58.510AKARI B.10.50.5110.50.5111811Masha K.111011110.51912Katya O.11100.50.510.50.517.5
The results of the control measurement of shyness according to the Philips method
№ Имя испыт / Факторы тревожности Общая тревожностьПереживание социального стрессаФрустрация потребности в достижении успехаЗастенчивостьСтрах самовыраженияСтрах не соответствовать ожиданиям окружающихНизкая физиологическая сопротивляемость стрессуПроблемы и страхи в отношениях с людьмиЧисло несовпадений по шкалам1Аня Б.1064332322Катя С.1254343333Игорь П.1453332334Юля Г.1554232345Дима Б.975343336Саша С.1165232447Максим К .1563522248Olya V.1565332159Yulya S.12573332410Katya B.13462222111Masha K.9542322212Katya O.84322211
Tags: The study of the influence of theatrical activity on the shyness of younger students Diploma in Pedagogy
Causes of isolation and shyness in preschool children. Study of the causes of isolation in preschool children. Preschool childhood is a special period in the development of the child when children develop the most general abilities that are necessary for any person in any kind of activity. Shyness is a fairly common phenomenon among children and adults and is fraught with many problems.
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Introduction
During her observations, the student wrote down: Sasha (5 years old) listened attentively to the teacher's explanations. His posture seemed to testify to this: he, without being distracted, looked at the teacher. However, when asked, he answered incorrectly.
Sometimes, due to their inner experiences or character traits, children become secretive, withdrawn, or simply become very shy. Preschool childhood is a special period in the development of a child, when children develop the most general abilities that are necessary for any person in any kind of activity. Shyness (which includes the fear of something new, the fear of drawing attention to oneself, the tendency to check the correctness of one's actions through the assessment and opinion of others, etc.) blocks the development of both the emotional and intellectual spheres of the child's personality. Shyness is a fairly common phenomenon among children and adults, which is fraught with many problems. Shy children are often self-absorbed, not resolute, shy in communicating with adults and peers; shyness is an actual problem in psychology and pedagogy.
The purpose of the work: to consider the features of secretive, withdrawn behavior in preschool children, to confirm or refute the results of research by psychologists on this topic.
Work tasks:
1. Analyze the causes of isolation, shyness in preschool children.
2. Conduct a practical study of the problem.
3. Analyze the results of the study and draw conclusions.
1. Causes of isolation and shyness in preschool children.
Shyness is a universal and widespread phenomenon, therefore both domestic and foreign scientists dealt with the problem of shyness: E. I. Gasparova, A. A. Zakharov, F. Zimbardo, D.Izard, Yu. M. Orlov, T. O. Smoleva, V. Stern, T. Shishova and other scientists.
Shyness is a fairly common phenomenon among children and adults, which is fraught with many problems. Shy children are often self-absorbed, not resolute, shy in communicating with adults and peers, acutely experience situations when they are in the spotlight, are characterized by particular suspiciousness and anxiety, as a rule, they have a high level of anxiety. After analyzing the content of the concept of "shyness", we can conclude that the problem of shyness is one of the urgent problems in psychological and pedagogical science. The main difficulties in communicating a shy child with other people lie in the sphere of his attitude towards himself and the attitude of other people towards him.
An analysis of the psychological and pedagogical literature revealed the following features of the manifestation of shyness in preschool children: isolation, fear, increased anxiety, a tendency to remain silent, selectivity in contacts with people, preference for communication with relatives and well-known people, and refusal or difficulty in communicating with strangers.
Psychology professor J. Kagan considers shyness to be a hereditary trait. He found that already during the first year of life, shy children had a faster pulse than their sociable peers, they were more excitable and cried more often, and at the age of four they had an increased blood pressure. And adults are more likely to suffer from allergies, hay fever and eczema, which are considered hereditary diseases.
This discovery led the researcher to the conclusion that shyness genes and genes immune system links of one chain.
Insularity is a violation that manifests itself in a narrowing of the circle of communication, a decrease in the possibilities of emotional contact with other people, and an increase in the difficulty of establishing new social relationships. A closed child can be caused by various reasons. It can be associated with the psychological characteristics of the baby, the subtlety of his mental organization, the richness of his inner world. The child prefers to be alone, he is more willing to take on activities that require solitude: he sculpts with pleasure, draws, designs ...
The isolation of the child has its origins. It appears in the behavior of the child early enough and usually has such prerequisites at an early age as anxiety, emotional instability, general low mood, deterioration in appetite and sleep disturbance due to the slightest changes in the child's life. These children are also characterized by fear of strangers, long-lasting anxiety and stiffness when they get into a new situation. As a rule, these children are very attached to their mother and endure even a short absence of her very painfully. Closeness can and should be corrected.
According to researchers, isolation occurs in preschoolers due to emotional distress. Emotional distress associated with difficulties in communicating with other children can lead to two types of behavior. The first group includes unbalanced, excitable children, preschoolers of the first group are prone to anger, resentment, fights.
The second group consists of children with a stable negative attitude towards communication: these children are closed, isolated and avoid communication.
The reasons for isolation can be caused by external factors. For example, preschool children may withdraw into themselves because of their parents' fights. In fact, almost all psychologists say that one of the most common reasons for the isolation of children is an unfriendly atmosphere in the family. When a small child watches the scandals within the family, a significant change occurs in his horizons. The problem is that children tend to tell their friends about everything, but they don’t want to share such information, they hide it in themselves, which is the reason for isolation. Also, due to quarrels in the family, the child may consider himself superfluous, unnecessary to anyone, and over time will try to become invisible.
The basic way to protect a closed child blocking (“deaf protection”) the child refuses both activities and contacts with others. Blocking has a negative impact on the development of the child's personality, since he does not participate in live communication, in joint activities and lives in his own world.
Very often, parents try to save the child from any communication with strangers, do not let other children in, thus isolating them from society, which means they do not allow the ability to live among people to develop. The low level of development of communication, difficulties in contacts with other people and adults and peers, isolation prevent children from being included in collective activities, becoming, becoming a full member of the group in kindergarten.
Special knowledge and attention is required to identify children with deviations in behavior, but the main thing is not to make a mistake in assessing the child's behavior, in the correct definition of corrective work.
2. Study of the causes of isolation in preschool children.
In order to confirm or refute the hypotheses of scientists about the isolation of preschool children, we conducted the “Draw Your Family” technique with the older group of the kindergarten (15 people). We invited the kids to draw their family without explaining to them what we mean by this. In order to analyze the results of this study, it is necessary to pay attention to how the child portrayed himself in the picture. If he portrayed himself as a very large figure (larger than everyone else), this may mean that he is somewhat spoiled.
On the contrary, if his figure in the picture is too small (the smallest, especially if he is not the smallest in the family), it may mean that the child evaluates his role in the family as insignificant; but maybe he just emphasizes how small he is compared to the rest; if the child in the picture is away from mom, dad and other relatives, perhaps too little attention is paid to him, and he most likely feels isolated from the rest; if the child has drawn himself in the family circle, everyone is holding hands, it means that a friendly atmosphere reigns in the house, or the child really wants it to be so (especially if the family is really not all right).
It is also necessary to pay attention to the following features of the drawing: if instead of relatives the child draws toys, animals, non-existent brothers and sisters, grandparents, etc.; sometimes he adds them to real family members or starts his drawing with them this may mean that the child is not satisfied with the existing relationship, he is missing something. And finally, if while drawing a child presses hard on the pencil, even breaks through the paper, all the figures are very small, the drawing is strongly shifted to one of the corners of the sheet - all this may indicate increased anxiety of the child.
5 people drew themselves the largest in relation to the rest of the family in the picture, 3 children drew animals and only then finished drawing their parents, 7 people drew a family where everyone holds hands.
Thus, we conclude that only seven children are completely satisfied with the atmosphere in the family. Five children may have slightly high self-esteem. In order to correct the development of self-esteem in them, we propose to conduct a series of corrective games aimed at the adequate development of self-esteem in preschool children. For example, the game "Name". You can invite the child to come up with a name for himself that he would like to have, or leave his own. Ask why he does not like or like his name, why he would like to be called differently. This game can give additional information about the kid's self-esteem. Indeed, often the rejection of his name means that the child is dissatisfied with himself or wants to be better than he is now.
The guys who first drew animals, and then parents have low self-esteem, are slightly closed. Perhaps they lack attention from parents and peers.
To correct the behavior of withdrawn and shy children, we recommend a series of games designed in accordance with the existing problems of isolation in children and aimed at correcting behavior and developing sociability and openness in preschool children.
For example, the game "Engine" Children stand in a circle. In turn, they act as a leader, who shows certain movements (without words). Leading, as it were, a locomotive, which leads the wagons, repeating all its movements. Children "wagons" must repeat what the leader depicts, and if he shows not just a set of movements, but some kind of person or animal, guess who he is depicting.
The game "Expressive movements" The host invites the children to perform the following movements: raise their eyebrows up, move them, close their eyes tightly, open their eyes wide, puff out their cheeks, draw their cheeks into the oral cavity. The host invites the children to gesture the words “tall”, “small”, “there”, “I”, “here”, “he”, “fat”, etc. we look when we are cold, when our stomach hurts, when we carry a heavy bag. These games will help liberate shy or withdrawn children. Also the game "I can do anything."
Children take turns completing each of the sentences: I can ... I want ...
I can ... I will achieve .. Each child can be asked to explain this or that answer. This game is useful both for closed and shy children, and for children with high self-esteem.
The game "Looking for treasure" will be useful. This game includes two parts. The first part helps develop children's trust in each other and helps them to better understand and understand themselves and their friends. Children are asked to split into two teams in a somewhat unusual way. They are invited to look into each other's eyes and line up in a row according to the color of their eyes, starting with the children with the darkest and ending with the children with the lightest eyes. Then the resulting row is divided into two parts, thereby forming teams: “light-eyed” and “dark-eyed”. In the second part of the game, the children are told that now each team will start looking for the “treasure” hidden in the room. To do this, children are offered a drawing-plan of the room. In the game, the organization of joint actions of children takes place (in a playful way), which requires children to be quick-witted and diligent, as a result of the application of certain efforts, the ability to organize joint actions in the game is developed.
The game "Playing out situations" can be used to correct almost all violations in the field of communication in children. The plots for acting out, as well as for correcting other violations, can be invented by the children themselves, or you can use real situations that caused difficulties for your child. And we suggest that you play the following scenes: two unfamiliar children went out for a walk in the yard, there is no one there except them; two unfamiliar children meet at the swing, both want to swing; the child was walking in the yard sees another, unfamiliar, who is crying loudly. Role-playing helps the child develop certain behavioral skills. This is a kind of "rehearsal of behavior", which removes some of the difficulties that a child has in the process of communicating with children and adults.
Conclusion
As the study showed control work, By appearance it is not always possible to draw a correct conclusion about the nature of internal mental processes. Some children can hide their experiences, while others, as they say, they are "written" on the face.
Shyness is a socially determined phenomenon. It appears in the interaction of people in society, as one of the manifestations of relationships. The main source of shyness is anxiety, fear of people. For children, adults play a special role. The foundation of shyness is laid in childhood. Therefore, its manifestation largely depends on the upbringing of parents, educational institutions, and the social environment.
Simple psychological tasks, various corrective techniques and games will help speed up the process of internal liberation of a closed baby. It is necessary to be sensitive and attentive to the child, to be patient, and after a while the child will overcome isolation and experience a great sense of joy from communicating with different people.
List of sources used
1. Alekseeva E.E. Psychological problems of preschool children. St. Petersburg: Rech, 2007. 224 p.
2. Gaivoronskaya T.A., Derkunskaya V.A. The development of empathy in older preschoolers in theatrical activities. Methodical manual M., 2007. 144p.
3. Galiguzova L. N. Shy child / Preschool education. 2000. - No. 4.
4. Zimbardo F. Shyness (what it is and how to deal with it). St. Petersburg: Piter Press, 1996. 256 p.
5. Kataeva L. I. The work of a psychologist with shy children. M., 2004. 56p.
6. Mukhina V.S. Developmental psychology: developmental phenomenology, childhood, adolescence: A textbook for students. universities. - 4th ed., stereotype. - M.: Publishing Center "Academy", 1999. - 456 p.
7. Shirokova G.A. Workshop for a child psychologist / G.A. Shirokova, E.G. Zhadko. Ed. 5th. Rostov n/a: Phoenix, 2007. 314 p.
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The initial stage in working with problem children is considered to be a comprehensive medical, psychological and pedagogical diagnosis of the child and the study of the social situation of his development.
The study of the child should begin with an analysis of the social situation of his development, ascertaining the circle of communication, the nature and methods of interaction in his immediate environment.
Finding out the situation of the child's social development, it is necessary to pay attention to the daily routine in the family, the state of the subject-developing environment and the possibility of its dynamic change in accordance with the needs and needs of the baby.
It is important to observe.
Manifestations of shyness can vary from occasional embarrassment or discomfort in the presence of other people, to anxiety and inexplicable fear of people.
A shy child experiences great internal tension and it can manifest itself outwardly: fidgeting in a chair, head down, stooped shoulders, looking at the floor, to the side and almost never into the eyes of the interlocutor, fear of turning to an adult, expressing one’s desires, difficulty in answering the simplest questions.
All manifestations of shyness are usually divided into:
- 1) external (behavioral);
- 2) internal (psycho-emotional);
- 3) physiological.
- 4) does not ask questions, answers the questions asked with visible reluctance, in a quiet voice.
A shy person cannot freely express his point of view, it is difficult for him to express and prove himself as an interlocutor.
Externally, shyness is manifested in stiffness of movements. When communicating with an adult, children take a forced, tense posture, stoop, bend their heads, fiddle with their hands or clothes, touch their hair or face. In the vast majority, they avoid meeting the interlocutor's eyes. Typical for them is the look, as if laid aside or lowered. Children often blush.
The speech of shy children is quiet, often slurred, undeveloped. They don't enter into conversation. Contact is established slowly and with difficulty, the duration of communication is short-term
Adaptation to preschool in shy children it happens slowly, with great difficulty. It is difficult for teachers to find an approach to establishing contact with a child. Shy children stubbornly try to get away from communication, they themselves lack initiative
Diagnosis of shyness in children
According to some studies, shyness is closely associated with anxiety. In this regard, the questionnaire of E.I. Rogov "Identification of the level of anxiety" and the projective technique "The animals came to the watering place".
Anxiety scale Lesenka Khukhlaeva
Purpose: self-esteem research
Test "Family Drawing"
Purpose: to identify intra-family relationships
Anxiety scale
Purpose: to identify the level of anxiety of the child, the scope of significant
"Anxiety Scale"
Purpose: to identify the level of anxiety of the child, the scope of significant experiences.
- 1. The process of learning in kindergarten, communication with teachers within this activity (learning anxiety)
- 2. situations of analysis of ideas about oneself (self-assessment)
- 3. communication situations (interpersonal)
Material: three colored cards - red, green, blue (or yellow)
Instruction: "I'll talk to you about different occasions that are in your life. Some of them may be unpleasant for you, cause you fear, anxiety. I have here three cards of different colors. If the case I am talking about is very unpleasant for you, you will take it and show me a red card. If it's only a little unpleasant - green. And if this case is not terrible for you - blue. (All selections and spontaneous comments are recorded.)
Questionnaire:
- 1. You answer at the blackboard in class.
- 2. Your dad or mom scolds you.
- 3. You meet with the guys from kindergarten.
- 4. You go to visit strangers
- 5. You stay at home alone.
- 6. You come up to talk to the teacher yourself.
- 7. You can not cope with the task in class.
- 8. You compare yourself to other guys.
- 9. You think about your business.
- 10. They look at you like you are small.
- 11. You often cry.
- 12. The teacher unexpectedly asks you a question in class.
- 13. No one pays attention to you in class when you did a good, beautiful job.
- 14. Guys disagree with you, they argue.
- 15. They do not pay attention to you when you do something, play.
- 16. You have terrible dreams.
- 17. The teacher gives a difficult task.
- 18. You choose the main roles in the game.
- 19. You don't understand the teacher's explanations.
- 20. The guys laugh when you answer in class.
- 21. You watch "horrors" on TV, they tell you scary stories.
- 22. Thinking about what will happen when you grow up big.
- 23. Adults get angry at you, it is not clear why.
- 24. The teacher evaluates the work that you have done in class.
- 25. They look at you, watch you when you do something.
- 24. Something is not working out for you.
- 25. The guys don’t play with you, they never take you into the game, they don’t make friends with you.
- 26. The teacher makes a remark to you in class.
one choice of red is worth 3 points;
green - 2 points;
blue - 0 points.
The sum of points is calculated in general and for each type of anxiety.
- 1. Training - 1, 6, 7, 12, 13, 18, 21, 22, 26, 30.
- 2. Self-assessment - 5, 8, 9, 11, 17, 19, 20, 23, 24, 28.
- 3. Interpersonal - 2, 3, 4, 10, 14, 15, 16, 25, 27, 29.
Note:
- - for a high level of anxiety - more than 20 points in one section or more than 60 points in total;
- - very low level of anxiety - not higher than 5 points for the section.
The norm is from 10 to 20 points for each section.
A.I. test Zakharov to assess the level of anxiety of the child
Instruction
Read these statements carefully and rate how relevant they are to your child. If this is expressed - put "+", if this manifestation occurs periodically, put "0" if there is no "-".
The test is performed by parents of children 4-10 years old.
Your child:
He is easily upset, worries a lot, takes everything too close to his heart.
A little bit - in tears, crying uncontrollably or whining, grumbling, cannot calm down.
Capricious for no reason, irritated over trifles, cannot wait, endure.
More than often offended, pouting, can not stand any remarks.
Extremely unstable in mood, to the point that he can laugh and cry at the same time.
More and more sad and sad without apparent reason.
As in the first years, he again sucks his finger, a pacifier, turns everything in his hands.
She does not fall asleep for a long time without light and the presence of loved ones nearby, sleeps restlessly, wakes up. Can't wake up right away in the morning.
Becomes hyperexcitable when restrained, or retarded and lethargic when performing tasks.
Expressed fears, fears, timidity appear in any new, unknown or responsible situations.
Increasing self-doubt, indecision in actions and deeds.
Tired faster, distracted, unable to concentrate for a long time.
It is becoming more and more difficult to find a common language with him, to agree: he becomes not his own, changes decisions endlessly or withdraws into himself.
Begins to complain of headaches in the evening or abdominal pain in the morning; often turns pale, blushes, sweats, itches for no apparent reason, allergies, skin irritation.
Decreased appetite, often sick for a long time; the temperature rises for no reason; often misses kindergarten or school.
Possible answers:
this item is expressed and has been increasing recently - 2 points;
this item appears periodically - 1 point;
this item is missing - 0 points.
The sum of points is calculated and a conclusion is made about the presence of neurosis or a predisposition to it.
From 20 to 30 points - neurosis.
From 15 to 20 points - neurosis was or will be in the near future.
From 10 to 15 - a nervous breakdown, but not necessarily reaching the stage of the disease.
From 5 to 9 points - attention to this child is necessary.
Less than 5 points - deviations are insignificant and are an expression of the passing age characteristics of the child.
Test "Fairy Tale" by Louise Duss "Chick"
Purpose: to identify the degree of dependence of the child on one of the parents or on both together.
“Birds are sleeping in a nest on a tree: dad, mom and a little chick. Suddenly a strong wind came up, the branch breaks, and the nest falls down: everyone ends up on the ground. Dad flies and sits on one branch, mom sits on another. What should a chick do?
The correct answers are: “He will also fly and sit on some branch), “He will fly to his mother because he was scared”, “He will fly to his father because he is stronger”, “He will remain on the ground, he will call for help, and dad ( mother) will fly in and pick him up,” etc.
Problematic answers: “He will die during the fall”, “He will die of hunger (cold, rain ...), “Everyone will forget about him, and someone will step on him”, etc.
Introduction
Chapter 1. Theoretical aspects of the influence of theater activities on the development of shyness in younger students
1.1 Features of the mental development of younger students
1.2 Main characteristics of shyness
1.3 Theatrical activity as a pedagogical tool
Chapter 2. Experimental determination of the influence of theater activity on the development of shyness in younger students
2.1 Description of the experimental base and ascertaining experiment
2.2 Description of the method of theatrical activity used in the experiment
2.3 Description of the formative experiment and interpretation of its results
Conclusion
Bibliography
Annex 1
Appendix 2
Appendix 3
Introduction
According to a number of published studies in the field of child psychology, one of the risk factors for deviations from normal development is the excessive shyness of younger students. Statistics say that about 40% of modern schoolchildren studying in grades 1-4 are characterized by qualities, the totality of which can be called shyness. This term is usually understood as a person's excessive self-doubt in himself, his own strengths, lack of sociability, low social activity, increased anxiety. These phenomena make themselves felt especially clearly in the educational activities of schoolchildren.
Safin V.F., Kon I.S., Izard K., Zimbardo F., Vasilyuk F.E. dealt with the problems of shyness, the study of psychological and pedagogical tools for its resolution at different times. and etc.
These and other authors have proposed various means of correcting the excessive shyness of younger students, one of which is the involvement of the child in theatrical activities in the process of his schooling.
Problem: Excessive shyness slows down the development of younger students.
Hypothesis: the inclusion of children of primary school age in theatrical activities will reduce the level of shyness.
The purpose of the study: to determine the specifics of the influence of theatrical activity on the formation and development of shyness in younger students.
Research objectives:
Determination of the features of the mental development of younger students;
Identification of specific features of shyness in primary school age;
Characterization of the influence of theatrical activity on the development of shyness;
Diagnosis of levels of shyness in modern junior schoolchildren;
Approbation of the methodology for including theatrical activities in the educational process in practice, determining its effectiveness;
Object of study: a group of children of primary school age.
Subject of research: the level of development of shyness of younger students.
Research methods:
Analysis of scientific and methodical literature;
Included observation;
Formative experiment;
Control diagnostics.
The theoretical significance of the study is due to the lack of materials in the field of diagnosing and correcting shyness in younger students.
The practical significance of the study is given by the presence in the work of a large amount of experimental data, diagnostic results, as well as methodological recommendations that can be used by teachers and parents in the work on correcting the shyness of younger students.
The work consists of introduction, two chapters, conclusion and appendices. The first chapter reveals the theoretical aspects of the influence of the involvement of younger students in theatrical activity on the level of their shyness.
The second chapter describes the experience of approbation of the methodology for including children - younger schoolchildren in theatrical activities and its effectiveness.
The conclusion summarizes the main findings of the entire study. The appendix contains all the necessary accompanying materials.
Chapter 1. Theoretical aspects of the influence of theater activities on the development of shyness in younger students
1.1 Features of the mental development of younger students
Development in psychology is usually understood as a qualitative change in an object.
When we talk about the norm of development, we mean the generally accepted levels of development of some components - intellect, thinking and other mental functions, emotional development, corresponding to the age of the child.
In psychology and pedagogy, there are age periodizations that collect all the information about the level of development of these components at a certain age. The most developed are the periodizations of B.D. Elkonin and V.I. Slobodchikov. Their work is based on the following concepts:
Leading activity is "an activity that determines the main direction of development at a particular age." The ability that develops in the child in the course of the implementation of the leading activity is called the neoformation of age. Transitions from one leading activity to another are called development crises.
The event community is “a community within which proper human abilities are formed, allowing the individual, firstly, to enter into various communities and join certain forms of culture, and secondly, to leave the community, individualize and create new forms himself, i.e. to create new forms. e. be independent."
Summarizing these concepts, we can say that the child depends on society. At each stage of development he has a certain community in which he is included, on which he depends. For a long time it is only a mother, then a family, school, etc. In addition, the child develops at the level of mental functions, at the activity level. The development of new functions is carried out through activities that are different in each age period. These new functions - neoplasms - allow the child to be full-fledged, to enter society on an equal basis. But if there is a violation in the development of the child, if he does not live through any period, the activity is not mastered, then this negatively affects his development.
According to the periodization of V.I. Slobodchikov junior school age is the period from 7 to 11 years.
Let us briefly characterize the main neoplasms of the ages and the circle of event commonality in the younger schoolchild and adolescent.
Changes in the development of higher mental functions:
Memory. The changes concern the acquisition of new ways of memorization, based not on primitive repetition and memorization, but on the "grouping of the constituent parts of the material";
Perception. In the field of perception, there is a transition from the involuntary perception of a preschool child to purposeful voluntary observation of an object that is subject to a specific task;
Will. The development of arbitrariness occurs due to the requirements imposed by the school, the educational process on the child;
Attention. Also, educational activities contribute to the development of attention, focusing on uninteresting things;
Thinking. The development of thinking occurs due to the fact that in the process of learning the child has to not only learn, but also analyze, synthesize, generalize. All these are mental operations aimed at working with concepts.
Based on the development of memory, arbitrariness, attention, perception and thinking, the level of cognitive activity of the child, his intellectual abilities, increases.
The leading activity at the stage of primary school childhood is educational.
The structure of academic activity includes:
The learning task is what the student must master;
Educational action is the changes in the educational material necessary for its development by the student;
The control action is an indication of whether the student correctly performs the action corresponding to the model;
The action of assessment is the determination of whether a student has achieved a result or not.
Educational activity is not given to the child from the very beginning, it needs to be built. At the initial stages, it is carried out in the form of a joint activity of a teacher and a student. The process of development of educational activity is the process of transferring its individual links from teacher to student. Any action the child performs first with an adult, gradually the measure of the adult's help decreases and comes to naught, then the action is internalized, and the child begins to perform it independently.
When a child enters school, his whole way of life, his social position, position in the team, and family change dramatically. From now on, his main activity is teaching, the most important social duty is the duty to learn, to acquire knowledge. And teaching is a serious work that requires a certain organization, discipline, and considerable volitional efforts on the part of the child. More and more often you have to do what you need, and not what you want. The student is included in a new team for him, in which he will live, study, develop and grow up.
From the first days of schooling, the main contradiction arises, which is the driving force behind development in primary school age. This is a contradiction between the ever-growing demands that educational work and the team make on the personality of the child, on his attention, memory, thinking, and the current level of mental development, the development of personality traits. Demands are constantly growing, and the current level of mental development is continuously drawn up to their level.
Thus, the area of social community of a younger student includes his parents, teacher and peers.
1.2 Main characteristics of shyness
A.B. Belousova defined shyness as "a phenomenon of emotional and cognitive origin, which is caused by the existence of psychological tension in interpersonal communication and is accompanied by thoughts about one's own inferiority and a negative attitude towards oneself on the part of the subjects of communication."
If shyness is experienced briefly and rarely, then it acts as a state; if for a long time and often, then it turns into a property of the individual.
Shyness arises in the context of emotional contacts, in situations that are at least to some extent emotional. The most common objects that contribute to the emergence of shyness are the self (or self-consciousness), the body, love, work, friendship, close interpersonal relationships, or even short contacts that nevertheless have a special meaning for the person.
There are many different versions about the nature of shyness. Different experts put forward different answers:
Researchers in personality psychology are convinced that shyness is inherited, just like a person's intelligence or height.
Behaviorists believe that shy people simply lack the social skills needed to communicate fully with other people.
Psychoanalysts say that shyness is nothing more than a symptom, an expression on a conscious level of deep mental contradictions raging in the subconscious.
Sociologists and some child psychologists believe that shyness must be understood in terms of social attitudes: we are embarrassed when it comes to observing social decorum.
Social psychologists say that shyness makes itself felt from the moment when a person says to himself: “I am shy”, “I am shy because I consider myself to be such and because others think so of me.”
Shyness manifests itself in different ways. There is a lot in common in the manifestation of shyness with the manifestation of confusion and tension. Therefore, they are all combined into one group, called in psychology emotional disturbances of activity.
Any emotional (born of emotion) disturbances in activity can be more clearly manifested either in the psychomotor, or in the intellectual, or in the vegetative sphere. Violation of these areas determines the three main types of manifestations of shyness, such as:
1. external behavior of a person, signaling shyness;
2. physiological symptoms;
3. inner feelings and vulnerability of intellectual functions.
The main signs characterizing a person's behavior as signaling shyness are: unwillingness to engage in conversation, eye contact is difficult or even impossible, he evaluates his voice as too soft, avoiding people, not showing initiative. Such behavior impedes social communication and interpersonal contacts, which are necessary for all people without exception. Because shy people repeatedly fail to express themselves, they are less able than others to create their own inner world. All this leads to isolation of a person. Withdrawal is an unwillingness to talk until you are pushed to it, a tendency to remain silent, an inability to speak freely. But isolation is not just a desire to avoid talking, but a more general and deeper problem. This is not just a problem of lack of communication skills, but the result of a misconception about the nature of human relationships. The actions of a closed person are similar to the actions of a distrustful investor in a rapidly changing market: hopes for a possible profit are outweighed by fears of losing their money.
On a physiological level, shy people experience the following sensations: the pulse quickens, the heart beats strongly, sweat comes out, and there is a feeling of emptiness in the stomach. However, we experience similar reactions with any strong emotional shock. A distinctive physical symptom of shyness is redness on the face that cannot be hidden. But again, we all blush from time to time, our heart beats faster or our stomach cramps. True, non-shy people treat these reactions as a mild inconvenience, and shy people tend to focus on their physical sensations. Sometimes they don't even wait until they find themselves in a situation that is fraught with embarrassment or embarrassment for them. They experience these symptoms ahead of time and, thinking only of the bad, decide not to engage in conversation, not to learn to dance, etc.
From the inner feelings of a shy person, embarrassment and awkwardness can be distinguished. Often people blush with embarrassment - a short-term acute loss of respect for oneself, which one has to experience from time to time. Confusion leads to general attention to some cases from private life, when someone informs other people about us, unexpected praise when they are caught doing an activity not intended for prying eyes. The state of embarrassment is caused by the consciousness of one's own inadequacy. Most shy people learn to avoid situations in which they may feel embarrassed, and thus more and more separate themselves from others, focusing on their shortcomings.
There are people who are shy even when they are alone. They blush and feel embarrassed, reliving their previous mistakes or worrying about how they will behave in the future.
The most notable quality of a shy person is awkwardness. Awkwardness is an external manifestation of excessive concern for one's internal state. Self-knowledge, the desire to comprehend oneself underlie many theories of the harmonious development of personality. Awkwardness can manifest itself both in public and alone with oneself. Embarrassment in public is reflected in a person's concern about the impression made on others. Embarrassment with oneself is a brain turned against itself. This is not just a focus on oneself, but a negatively colored egocentrism.
Shyness has negative consequences not only in social terms, but also negatively affects thought processes. Shyness plunges a person into a state that is characterized by an aggravation of self-consciousness and specific features of self-perception. A person seems to himself small, helpless, constrained, emotionally upset, stupid, worthless, etc.
Shyness is accompanied by a temporary inability to think logically and effectively, and often a feeling of failure, defeat. To some extent, you can say that a person is going crazy. After self-control turns on and anxiety rises, shy people pay less and less attention to incoming information. The agony of shyness kills memory, perception is distorted. Thus, shyness deprives a person not only of the gift of speech, but also of memory and clear perception.
There is another kind of shyness, when it manifests itself as an incomprehensible eccentricity, harshness unusual for this person, even rudeness. This is the so-called overcompensation of shyness. Behind conscious shamelessness, behind emphasized rudeness and eccentricity, people try to hide, hide their shyness.
Developing trust in others;
responding to fears;
There are some problems in diagnosing shyness. There are quite a lot of methods for determining the degree of shyness in adolescents. These are the methods of F. Zimbardo, J. Farenberg, A.B. Belousova and others.
An analysis of the psychological and pedagogical literature showed that today we do not have a sufficient number of methods for diagnosing shyness in younger students. There are some kind of "local" diagnostic programs that affect the phenomenon of shyness (such as anxiety, fears, loneliness, self-esteem, etc.). The success of measuring the shyness of younger students depends on the ability to correctly dissect the problem of shyness and select appropriate diagnostic tools for all the elements.
Currently, the complex of methods that determine the shyness of younger students includes:
Measuring a child's self-esteem;
Measurement of anxiety;
Methods for measuring shyness are observation, questioning, interviewing, questioning.
1.3 Theatrical activity as a pedagogical tool
Theater is a synthesis of arts, which has absorbed almost everything that helps a full-fledged person to develop, who is able to perceive the world around him as a living single organism.
N.E. Basina identifies the following common features of theatrical and pedagogical activity:
The vector of interest in theater and pedagogy has always been human relations, the interaction of man and the world;
The profession of a teacher has much in common with the professions of an actor and director. Publicity - the specifics of the pedagogical and acting professional situation;
The game is actively used both in theatrical and pedagogical activities.
According to L.S. Vygotsky, "along with verbal creativity, dramatization, or theatrical production, is the most frequent and widespread type of children's creativity." First, the drama, based on the action performed by the child himself, most closely, effectively and directly connects artistic creation with personal experience. Another reason for the proximity of the dramatic form to the child is the connection of all dramatization with play. Drama is closer than any other kind of creativity, it is directly connected with the game, this root of all children's creativity, and therefore it is the most syncretic, that is, it contains elements of the most diverse types of creativity.
Immersion in the world of theater in childhood creates certain ideals in the mind of a person, which subsequently carry only positive energy.
The next aspect: theater is a collective art. And children here comprehend what the standard general educational process at school cannot always achieve from them. Classes in the theater discipline, develop a sense of responsibility to partners and the audience, instill a sense of collectivism, love for work, courage.
The theatrical production provides a pretext and material for the most diverse types of children's creativity. Children themselves compose, improvise or prepare a play, improvise roles, sometimes stage some ready-made literary material. This is the verbal creativity of children, necessary and understandable to the children themselves, because it acquires meaning as part of the whole; it is a preparation or a natural part of a whole and entertaining game. The production of props, scenery, costumes gives rise to the fine and technical creativity of children. Children draw, sculpt, carve, sew, and again all these activities acquire meaning and purpose as part of a common idea that excites children. Finally, the play itself, consisting in the representation of the actors, completes all this work and gives it its full and final expression.
The main language of the theater is play-action, and the signs are dialogue. The game in primary school plays an important role, it "leads" learning. It is theatrical art in the context of play and action, creating images that is an effective condition for the correction of higher mental functions as the basis for the formation of speech activity. Theatrical activity, as a model of life situations, as a “trial” to feel oneself in a particular environment, creates, like no other educational activity, favorable conditions:
For the development of the emotional sphere (acquaintance with the feelings, moods of the characters, mastering the ways of their external expression, understanding the reasons for this or that mood);
For speech development (improvement of dialogues and monologues, mastering the ways of expressiveness of speech, diction);
For self-expression and self-realization.
The emergence of theater pedagogy as a separate branch of pedagogy can be considered as some result of the synergy of theater and pedagogical activity.
To date, theater pedagogy has developed a rich system of exercises and trainings that develop attention, imagination, associative thinking, memory, the ability to act and other elements of creativity.
Creative elements include:
Attention to the object;
Organs of perception: vision, hearing, etc.;
Memory for sensations and the creation of figurative visions on its basis;
Imagination;
Ability to interact;
Logic and sequence of actions and feelings;
sense of truth;
Faith and naivete;
Feeling the perspective of action and thought;
Sense of rhythm;
Charm, endurance;
Muscular freedom and plasticity;
Feeling of the phrase;
Ability to use words.
Mastering these elements of creativity leads to the creation of normal creative well-being.
The forms of inclusion of theatrical activity in the educational process are diverse:
1. Theater as a lesson
The inclusion of such a form of educational activity implies:
Expanding children's ideas about the theater;
Familiarization of children with the history of the theater;
Development of theatrical productions and their performance;
Exercises for the development of cognitive abilities;
Development of the child's communication skills;
Exercises for the development of the elements of creative activity necessary for the child to participate in a theatrical production.
The form of the lesson for theatrical activity is not quite usual. A clear disadvantage of this approach is the time limitation of the lesson and the vagueness of the criteria for evaluating the performance of students in the theater lesson.
2. Theater as a form of extracurricular work
The most common way to include theatrical activities in the educational process. It is characterized by a certain separation of standard educational activities from theatrical and represents longer events organized by the teacher after the lesson, similar in principle to the activities of actors and theater directors.
All activities here are built around the school theater, the composition of which can be either divided into age groups or be mixed. Often, a separate teacher-organizer or an invited specialist with a theatrical education is responsible for running a theater group.
This is a more developmental form of organizing theatrical activity, because here children learn by being directly involved in the process of developing a theatrical production and bringing it to its logical conclusion.
3. Theater as training
This form implies the use of individual elements of theatrical activity in the educational process. This can be playing skits in class, analyzing some of the most memorable of them from real theatrical productions. There is no full inclusion in theatrical activity. The theater is only one of the socio-cultural resources for building the educational process.
O.L. Zvereva identified the following types of theater classes:
1. Typical, which include the following activities: theatrical and gaming, rhythmoplasty, artistic speech, theatrical alphabet (elementary knowledge of theatrical art).
2. Dominant - one of the specified types of activity dominates.
3. Thematic, in which all the named activities are united by one topic, for example: “What is good and what is bad?”, “About dogs and cats”, etc.
4. Complex - a synthesis of the arts is used, an idea is given of the specifics of the arts (theatre, choreography, poetry, music, painting), modern technical means (audio and video materials).
All types of artistic activity are combined, they alternate, there are features of similarity and differences in the works, the means of expression of each type of art, which convey the image in their own way.
5. Integrated, where not only artistic, but also any other activity acts as a core activity.
6. Rehearsal rooms, where the “run” of the performance being prepared for staging or its individual fragments is carried out.
As noted above, there are certain difficulties in measuring the effectiveness of theatrical activity as an element of the pedagogical system. These difficulties are mainly related to the definition of performance criteria. Among a small number of methods for measuring the effectiveness of theatrical activity, one can single out the approach of T.S. Komarova. The main characteristics of this approach are presented in the table below.
Table 1 - Measuring the effectiveness of theatrical activities in the educational process
|
1. Fundamentals of theatrical culture |
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|
High level |
Average level |
Low level |
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|
Shows a steady interest in theatrical art and theatrical activities. Knows the rules of behavior in the theater. |
Interested in theatrical activities. |
Shows no interest in theatrical activities. Knows the rules of behavior in the theater. |
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|
Names various types of theater, knows from the differences can characterize the theatrical profession. |
Uses his knowledge in theatrical activities. |
It is difficult to name the different types of tetra. |
||
|
2. Speech culture |
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|
Understands the main idea of a literary work, explains his statement. |
Understands the main idea of a literary work. |
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|
Gives detailed verbal characteristics of the main and secondary characters. |
Gives verbal characteristics of the main and secondary characters. |
Distinguish between main and secondary characters. |
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|
Creatively interprets plot units based on a literary work. |
Identifies and can characterize plot units. |
It is difficult to single out plot units. |
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|
Able to retell the work from different persons, using linguistic and intonational-figurative means of expressiveness of speech. |
In the retelling, he uses the means of linguistic expressiveness. |
Retells the story with the help of a teacher. |
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|
3. Emotionally-imaginative development |
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|
Creatively applies knowledge about various emotional states and character of characters in performances and dramatizations, uses various means. |
Has knowledge of various emotional states and can demonstrate them using facial expressions, gestures, posture, movement, expressiveness is required. |
Distinguishes emotional states and their characteristics, but finds it difficult to demonstrate them by means of facial expressions, gestures, and movements. |
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|
4. Musical development |
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|
He improvises to music of different nature, creating expressive plastic images. |
It conveys the character of music in free plastic movements. |
Finds it difficult to create plastic images in accordance with the nature of the music. |
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|
Freely selects the musical characteristics of the characters, musical accompaniment to parts of the plot. |
Independently chooses the musical characteristics of the characters, musical accompaniment to parts of the plot from those proposed by the teacher. |
It is difficult to choose the musical characteristics of the characters from those proposed by the teacher. |
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|
Independently uses musical accompaniment, freely performs a song, dance in a performance. |
With the help of a teacher, she uses children's musical instruments, selects musical accompaniment, performs a song, a dance. |
Difficulty in playing children's musical instruments and the selection of familiar songs for the performance. |
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|
5. Basics of visual and design activities |
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Independently creates sketches for the main actions of the performance, sketches of characters and scenery, taking into account the material from which they will be made. |
Creates sketches of scenery, characters and main actions of the play. |
Creates drawings for the main actions of the performance. |
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|
Shows imagination in the manufacture of scenery and characters for performances for various types of theater. |
Creates scenery from various materials according to a sketch or verbal description-instructions. |
Difficulties in making decorations from various materials. |
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|
6. Fundamentals of collective creative activity |
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|
Shows initiative, coordination of actions with partners, creative activity at all stages of work on the performance. |
Shows initiative and coordination of actions with partners in planning collective activities. |
Does not show initiative, is passive at all stages of work on the performance |
Early childhood is an extremely important period in a person's life. This is the time of inclusion in educational activities, the development of theoretical knowledge, rapid physical development. The main psychological neoplasms of primary school age are: the arbitrariness and awareness of all mental processes and their intellectualization, their internal mediation, which occurs due to the assimilation of a system of scientific concepts.
Shyness, according to F. Zimbardo, is “a state of mind and the behavior of animals and humans caused by it, the characteristic features of which are: indecision, timidity, tension, stiffness and awkwardness in society due to self-doubt.”
Shyness negatively affects the development of younger students. Shyness:
Creates social problems, difficulties in communication, in establishing friendly relations with peers;
Has negative emotional consequences - depression, isolation, loneliness;
Creates difficulties in expressing one's own opinion, assessment, feelings, in showing initiative;
Limits the positive evaluation by others of the personal achievements of shy people and their self-esteem;
Contributes to the formation of incorrect assessments of the personality of a shy person, who can be perceived as arrogant, unfriendly, boring, weak;
Creates difficulties in mental activity in the presence of other people and alone with oneself;
Associated with the manifestation of uncontrolled physical arousal, increased heart rate and respiration.
According to psychologists, correctional work with shy children should be carried out in several directions:
Development of positive self-perception;
Increasing confidence in yourself and your abilities;
Developing trust in others;
responding to fears;
Removal of bodily tension;
Development of the ability to express their emotions;
Development of teamwork skills;
Development of self-control skills.
One of the options for a pedagogical tool for combining all these areas can be theatrical activity.
Involving a child in theatrical activity allows you to develop his communication skills, expand the area of social contacts, give you the opportunity to show your creative abilities, your emotions. The great developmental potential of theatrical activity lies in:
Collectivity of activity;
Elements of game activity;
The need to act and communicate;
Independence of choice and organization of own participation in activities;
The need to activate cognitive abilities.
Chapter 2. Experimental determination of the influence of theater activity on the development of shyness in younger students
2.1 Description of the experimental base and ascertaining experiment
The study was conducted on the basis of a general education institution of school No. 30 in Krasnoyarsk.
The purpose of the study: to determine the degree of influence of the inclusion of younger students in theatrical activities on the level of their shyness.
The experiment involved 12 people: 7 girls and 5 boys aged 6 to 8 years. The group was made up of second-grade students who, according to the observations of the class teachers, are characterized by excessive shyness.
Diagram 1 - Sex and age composition of the subjects
The study was carried out in three stages:
Determining the level of shyness in the experimental group before the start of the experiment;
Conducting a series of theatrical classes;
Determination of the level of shyness after a series of classes.
To diagnose the shyness of younger schoolchildren, we used a complex of two methods, surveys of teachers and parents of the subjects.
The first technique - "What am I" T.Yu. Romanova is used to determine the level of self-esteem of preschoolers and younger students. The methodology contains a separate scale "shyness", the level of which is proposed to be assessed by the student independently. In addition, according to the main characteristics of shyness as a sociopsychological phenomenon, a high level of shyness corresponds to a low level of self-esteem.
The experimenter, using the protocol, asks the child how he perceives himself and evaluates himself on ten different positive personality traits. The assessments offered by the child to himself are put down by the experimenter in the appropriate columns of the protocol, and then converted into points.
Answers like "yes" are worth 1 point, answers like "no" are worth 0 points. Answers like "don't know" and also answers like "sometimes" are estimated at 0.5 points. The self-esteem of the child is determined by the total amount of points scored by him for all personality traits.
Conclusions about the level of self-esteem
10 points - very high.
8-9 points - high.
4-7 points - average.
2-3 points - low.
0-1 point - very low.
The second technique is the method of diagnosing the level of anxiety in the edition of Phillips. The edition of the specified author corresponds to the age characteristics of the group of subjects, includes a separate scale "shyness" for measurement. A high level of shyness corresponds to a high level of anxiety.
The test consists of 58 questions that can be read to schoolchildren, or they can be offered in writing. Each question must be answered with a clear “Yes” or “No”.
When processing the results, questions are selected, the answers to which do not match the test key. For example, the child answered “Yes” to the 58th question, while “-” corresponds to this question in the key, that is, the answer is “no”. Answers that do not match the key are manifestations of anxiety. Processing counts:
1. The total number of discrepancies throughout the text. If it is more than 50%, we can talk about increased anxiety of the child, if more than 75% of the total number of test questions - about high anxiety.
2. The number of matches for each of the 8 anxiety factors highlighted in the text. The level of anxiety is determined in the same way as in the first case. The general internal emotional state of the student is analyzed, which is largely determined by the presence of certain anxiety syndromes (factors) and their number.
Protocols, stimulus material for both methods are given in Appendix 2.
Important for determining the level of shyness of the subjects is a survey of parents and teachers, helping to clarify the degree of social activity of the child, the level of his sociability, educational success. It is known that a high level of shyness is accompanied by lack of communication, excessive secrecy, lack of outstanding academic success.
The diagnostic results are presented in Appendix 3. Here we also note the general results.
The ascertaining measurement of shyness using the “What am I” method (see Appendix 3. Table 1) showed a high self-esteem in two subjects (16% of the total), an average level of self-esteem in 4 subjects (34% of the total), low self-esteem in six subjects (50% of the subjects). A high level of shyness was found in 6 subjects (50%), an average level of shyness in 4 subjects (33%), no shyness was noted in 2 subjects (17%).
Diagram 2 - The results of the ascertaining measurement of shyness according to the method "What am I"
The ascertaining measurement of shyness according to the Phillips method (see Appendix 3. Table 2) showed a high level of anxiety in 40% of the subjects, anxiety in 47% of the subjects, and a low level of anxiety in 13% of the subjects. Anxiety is accompanied by subjects with problems in building relationships with other people, a high level of fear of self-expression (44% of subjects). A high level of shyness was found in 60% of the subjects.
Diagram 3 - The results of the ascertaining measurement of shyness according to the Phillips method
The final phase of the ascertaining experiment was a conversation with the parents and class teachers of the subjects.
Parents and class teachers were asked the following questions:
1. How does the child behave in class and at home?
2. Does the child have many friends among his classmates and peers in general?
3. Does the child have learning problems?
4. How does the child relate to strangers, groups?
5. Is the child sociable?
6. Do you find your child shy/shy?
The conversation was able to determine the following:
According to the teachers, subjects #3,4,8,9 have significant problems in building relationships with others;
According to their parents, subjects No. 1,2,4,5,8,9,10 have excessive shyness, manifested in distrust of new people, unwillingness to remain in a team;
According to the class teacher, subjects No. 3-5, 7,10 experience problems in public speaking, if necessary, answer at the blackboard;
According to the parents, subjects #3-5 have few friends among their peers;
According to the parents, subjects #2-5, 7-10 behave differently at home and at school; lack of sociability at school is replaced by sociability at home;
According to the class teachers, subjects No. 1-3, 6-8 experience difficulties in learning, often make mistakes in completing assignments, forget some school supplies at home, and do not express diligence in the classroom.
2.2 Description of the method of theatrical activity used in the experiment
The study used the methodology of A.P. Ershova "Theatre lessons in elementary school". The choice of this particular methodological tool is due to the extensive experience of testing the means described in it in practice, the positive feedback from teachers working in elementary school.
In addition to this technique, the scenarios of theatrical classes by T.M. Romanova, E.A. Fedorova, O.S. Bausova.
Method A.P. Ershova assumes a comprehensive training in theatrical art and, on its basis, children from the primary school level (grades 1-4).
The purpose of the methodology is: to create a development space for children of primary school age in accordance with their age needs.
The objectives of the methodology are:
Acquaintance with the basics of theatrical activity;
Development of speech activity of younger students;
Development of teamwork, cooperation and partnership skills;
Development of basic cognitive abilities: thinking, imagination, attention, perception;
Civil, legal, moral, aesthetic education;
Development of intelligence;
Socialization of younger schoolchildren, expanding the circle of their social activity.
Work on the implementation of the tasks in the methodology is implied in several stages:
1. Educational games
The purpose of the introduction of theatrical educational games is to help children and the teacher in creating a psychologically comfortable atmosphere for classes; immerse children in their inherent element of the game, smoothing the scope of the lesson; develop in children memory, attention, will, thinking, imagination.
In a game format, you can submit exercises for the development of diction, articulation, breathing.
2. Acquaintance with the theater
In the classroom, theatrical terms are mastered: drama theater, puppet theater, radio theater, musical theater, actor, premiere, performance, characters, opera, ballet, etc.
Acquaintance of children with the theater involves watching TV shows, going to the drama theater, listening to fairy tales on record.
3. Acquaintance with the components of performing activities
This stage includes:
Creative activity;
The main task at this stage is the formation of the child's idea of the components of the stage image. At this stage of training, attention to the plastic solution of this or that image, the role of the costume or its details, etc., is of great importance. Exercise to music at this stage involves the transmission of fabulous images that are distinguished by a special characteristic.
One of the tasks is the formation of aesthetic evaluation skills in younger students. To this end, all the exercises performed in the classroom are discussed (in this case, the children are conditionally divided into two groups, each of which alternately performs the functions of either actors or spectators). The main criterion by which children's work is evaluated at this stage is reliability (veracity of performance).
Theatrical performance activity is based on the development and calculation of the language of action as a particularly expressive material of theatrical art. Children get used to paying attention to the features of actions performed by people: features of plasticity, gaze, speech, costume and facial expressions. They learn to grasp and perform one given action in different ways - to ask, console, listen, find out, etc. Students acquire the ability, having received a performing task and going on stage, to act in truth. The criterion "we believe" - "we do not believe", "grimacing" - "in truth" is being formed.
It is necessary to choose exercises for training arbitrary auditory and visual attention. The subject of attention should also be differences, features of the performance of the same task by different children.
External behavior training should also develop a benevolent attitude towards the work of your classmates, which is especially important during this age period (to support, inspire confidence, interest, and not drown out the emerging need to try, do).
4. Mastering the means of expression
This stage consists of the following elements:
In an atmosphere of benevolent and patient attitude towards each other, children's sensitivity to truthful purposeful action, to its features in facial expressions, gestures, gaze, movement, and speech is formed. Children get used to fantasize about the possibility of different behaviors in similar proposed circumstances and about performing the same actions in different proposed circumstances. This training of the imagination is also served by exercises with voice and speech: speaking slowly, quietly, quickly, in a bass voice, different people can speak high in different circumstances. Speech exercises play an important role in the work on artistic reading.
At this stage, you should consolidate and expand the experience of watching performances. It is useful to go to an already familiar performance for the second time, to give children the opportunity to notice everything different and the same. Here you can also use sketches for a “polite”, good viewer and for a bad viewer. All etude work allows us to introduce an aesthetic criterion for evaluating them when “bad” behavior is played, for example, well, and “good” - bad. So the quality of the performance - "how" - begins to be isolated from the content of the etude - "what" the actor plays. Work on any sketch can include the distribution of functions of the writer, director, actors, artist.
The main directions in the work at this stage are the reliability, truthfulness of performance, expressed in purposeful actions in the proposed circumstances. To this end, children are given a series of exercises that develop precisely these skills:
Speculation of the proposed circumstances;
The story about the hero from his own face;
On behalf of the character who came into conflict with him;
Inventing events before and after the study;
Characterization of the hero in his own speech, etc.
Thus, students gradually form an idea of character as a special behavior. At this stage, the child should already be able to consider the act as an action through which the character of the hero is manifested.
The development of theater education takes place on the basis of deepening and expanding the acquaintance of schoolchildren with dramaturgy and theatrical terminology, its specific and genre features: action, act, dialogue, monologue, director, playwright, artist, costume, decorator, gesture, facial expressions, posture.
The performances show dramatizations of poems, folklore holidays, "village gatherings". Schoolchildren participate in the performance as in a collective work, using the working terminology of acting.
5. Formation of ideas about the image of the hero in the theater
This stage includes the elements:
Elements of speech expressiveness;
Theater education;
Creative report.
At this stage, the main criterion for perception is the child's ability to evaluate the expressiveness and originality of each task. For this purpose, schoolchildren are offered to perform the same task with different compositions, while revealing the difference in performance. Theatrical and performing activities of schoolchildren unfold on the basis of the performance of a role according to a drama assignment. The interrelation of the image, text, task, action is mastered. The significance of improvisation-play in theatrical art is revealed, without which it does not exist, but which can be appreciated. Students get acquainted with the influence of history, environment, character, situation, on the logic of the character's behavior.
The work is based on exercises related to the game embodiment of a dramatic task:
Noises on remarks;
Monologues;
The logic of action in the dialogue;
Playing with the elements of the costume;
Logic of behavior and costume;
Etudes based on the play;
Improvisation under given circumstances.
At this stage, practical skills are laid to prepare children for the perception of a holistic image of the performance as a collective creativity; feasible participation in all stages of preparation, including registration. Children select and create a costume, scenery, props, sound design for the performance, for their sketch productions.
The skills of creative discipline are being formed: a feeling of "pain" for collective work and awareness of the need for one's participation in it; knowledge of the text of the role (not only one's own, but also partners), readiness to help one's comrade at any time, and, if necessary, to replace him.
Table 2 - Thematic lesson plan for theatrical activities in elementary school according to the method of A.P. Ershova
|
class number |
The name of the stage of training in theatrical activity |
Stage elements |
Number of hours |
|
|
Educational games |
exercises for the development of memory, attention, will, thinking, imagination; exercises for the development of diction, articulation, breathing. |
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|
Introduction to theater |
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|
Acquaintance with the components of performing activities |
Formation of stage speech; Plastic expressiveness; Creative activity; Formation of the skill of teamwork. |
Total: 34 hours |
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|
Mastering the means of expression |
Elements of speech expressiveness; Formation of the idea of character as a special behavior; Mastering the working terminology of acting art. |
Total: 27 hours |
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|
Formation of ideas about the image of the hero in the theater |
Elements of speech expressiveness; Hero image. The nature and selection of actions; Theater education; Gesture, facial expressions, movement, speech are the components of the action; Creative report. |
Total: 34 hours |
The end of training in this program should, in the author's opinion, include a final theatrical production - a public defense of the skills formed during the classes.
2.3 Description of the formative experiment and interpretation of its results
In order to determine the effectiveness of theatrical activity in the course of eliminating excessive shyness in younger students, we conducted a series of theatrical classes aimed at developing stage speech, plastic expressiveness, creative activity, and teamwork skills. Appendix 1 contains scenarios for some theatrical performances that we used in the course of classes, built according to the program of A.P. Ershova.
The work was carried out over four weeks. A summary of its progress is given in the table below.
Table 3 - Report on practical work in a general education institution
|
Description |
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|
1 lesson |
Articulation work. Gymnastics for lips, tongue, jaw. Breathing exercise. Exercise "and, a, o, y, s"; the sound of simple and iotated vowels: "uh, a-ya, o-e, u-yu, s-y"; hard and soft consonants: “pe-pe, pa-pya, po-pe, pu-pyu, py-pi”. Letter sound associations (wind, howl, wolf, bee buzzing, etc.). Images of letters (what it looks like). |
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|
2 lesson |
Acquaintance with Russian children's folklore through work on tongue twisters. Dramatization based on the work of K. Chukovsky "Telephone". Viewing the theatrical production of K. Chukovsky "Fly-Tsokotuha". |
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|
3 lesson |
Going to the theater for a production of Cinderella |
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|
4 lesson |
Discussion of the theatrical production of "Cinderella". Acting out a dramatization of a fairy tale. |
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5 lesson |
Exercises for plasticity, expressiveness of facial expressions. Exercises for the development of attention and perception. Theatrical improvisation |
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|
6 lesson |
vocal exercises. Playing a dramatization of the epic "Sadko" |
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|
7 lesson |
Preparation for the final production according to T.M. Romanova "Playing in the circus" |
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|
8 session |
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The emotional development of a child is the richness of his feelings, their diversity. Children rejoice, cry, experience fear, sadness, anxiety. However, different children have different depth and intensity of emotions. These characteristics depend on physiological, psychological and social factors. At each age, so-called normative fears are observed, which appear as a result of the development of the intellectual sphere and imagination. Under favorable circumstances of the child's life, such fears disappear: children "grow out" of them. But there are times when fears accumulate, growing like a snowball, interfere with the child's personal development and create adaptive, neurotic and other problems for him.
It is no coincidence that they say: a person is born twice - the first time physically and the second time spiritually. Man needs to expand his capabilities. For the child, the main obstacle to the development of opportunities and, accordingly, the source of anxiety is the disapproval of his behavior by adults. As a result, a psychopathic asocial person grows up, poorly integrating into society, hostile to it.
The instability of our lives, numerous social problems, the costs of raising children in the family and kindergarten, and whole line Other factors - these are the reasons for the appearance of neurotic deviations in modern preschoolers.At preschool age, 346 boys have an average number of fears of 8.2; 352 girls - 10.3. At school age, 732 boys had an average number of fears - 6.9; 705 girls - 9.2. It follows from these data that there are significantly more fears at preschool age than at school age, both among boys and girls. The average number of insurances by years is shown in Table. 1.
The percentage of various fears in children is presented in Table. 2. Conventionally, they are divided into 7 groups: "medical" (pain, injections, blood, doctors and diseases); fears associated with causing physical damage (unexpected sounds, attacks, transport, fire, fire, elements, war); fears of death of oneself and parents; fears of animals and fairy-tale characters; fears of sleep, fears of nightmares and darkness; socially mediated fears (of people, parents, punishment on their part, being late, being alone); "spatial" fears (heights, depths, water, closed and open space).
From Table. Table 2 shows that fears of attack and fire (for girls beyond age), war and death (for girls beyond age and schoolboys), death of parents (for boys and girls beyond age), fairy-tale characters (for preschool girls), being late (in schoolgirls) and depth (in preschool girls) exceed 50%. In preschool children (boys and girls), fears of pain, injections, transport, fire, animals, fairy-tale characters, fears of falling asleep, fears of the dark, nightmares, punishment, loneliness, depth, water and squares are significantly more common. At school age, fears of war, the death of parents and being late prevail. Knowing the age dynamics of fears allows you to correctly assess their "timeliness" in each case.
It is possible to prevent their formation by using a complex of well-thought-out social, psychological, pedagogical and medical measures that have a psycho-prophylactic orientation and expand the range of influence of the educator on the emotional development of the child. But, first of all, it is necessary to timely diagnose deviations in the child's behavior, his tendency to worry and fear, the lack of adequate psychological protection, which adversely affect the child's well-being and create certain difficulties in his life. In practice, it is not easy to clearly, unambiguously understand: the child suffers from neurotic deviations or behavioral problems are explained by the shortcomings of education and character traits. In those kindergartens where there is a psychologist, certain psychological-diagnostic and psychotherapeutic work is carried out to help parents and educators not to “break wood”, not to aggravate the condition of a child in need of help.
In the course of writing thesis, the goal was achieved - to study the influence of children's fears on the child's behavior and ways to correct them were identified, as well as all the tasks of the study were solved.
Thus, the following conclusions can be drawn:
1. Fear plays an important role in the life of a child, on the one hand, it can protect against rash and risky actions. On the other hand, positive and persistent fears impede the development of the child's personality, fetter creative energy, and contribute to the formation of uncertainty and increased anxiety.
2. Fears inevitably accompany the development of the child and the emergence of various emotional disorders, psychological problems associated with a number of adverse events that occurred in childhood.
3. Prevention of fears consists, first of all, in the education of such qualities as optimism, self-confidence, independence. The child must know what he is supposed to know by age, about real dangers and threats, and treat this adequately. Existing ways to reduce and control fear are based primarily on learning theory.
4. Correction of fears is carried out through game therapy, fairy tale therapy, art therapy, puppet therapy, psychoelevation, individual-group sessions, and improvement of parent-child relationships.
5. Drawing is used for corrective purposes. Drawing, the child gives vent to his feelings and experiences, desires and dreams, rebuilds his relationships in various situations and painlessly comes into contact with some frightening, unpleasant and traumatic images.
6. The importance of active corrective work with children's fears is due to the fact that fear itself can have a pathogenic effect on the development of various areas of a child's personality.
Table 1. Average number of fears in children (by sex and age)
|
Age in years |
Number of fears |
Age in years |
Number of fears |
||
|
boys |
Girls |
boys |
Girls |
||
|
7** |
|||||
* Preschoolers.
** Pupils.
Table 2. Distribution (%) of fears among children and adolescents
|
Fear |
boys |
Girls |
||
|
preschoolers |
pupils |
preschool girls |
schoolgirls |
|
|
pain |
||||
|
injections |
||||
|
Blood |
||||
|
Doctors |
||||
|
Diseases |
||||
|
Unexpected sounds |
||||
|
attacks |
||||
|
Transport |
||||
|
fire |
||||
|
fire |
||||
|
elements |
||||
|
Wars |
||||
|
Of death |
||||
|
Death of parents |
||||
|
Animals |
||||
|
Fairy tale characters |
||||
|
When falling asleep |
||||
|
darkness |
||||
|
nightmares |
||||
