Our country is rich in talented people. And for many years now, professional tests have been going on, on which unique events take place: each time more and more professionals can declare themselves publicly; fresh ideas appear, hitherto unknown, and sometimes well-known, but presented somehow completely differently, creatively; simple "educators", having managed to communicate in a new way with each other and with already established experts in the field, are rapidly growing in their vision of the subject, profession, and surrounding reality.
The main provisions of the competition are clear and clear. But based on the experience of participation in the competition movement, it turns out that teachers need to know more about what the internal currents of the competition are, how you can present your professional and creative potential so that it is clearly visible to others, how to convey their ideas to the understanding of others.
These are large and multidimensional questions that are difficult - if not impossible - to answer simply and unambiguously. Scientists and philosophers have been working on these and other similar questions for many tens (hundreds, thousands) of years, creating elements of answers in multivolume works. Meanwhile, you can answer quite satisfactorily only to yourself, having familiarized yourself with these works, having made your own impression.
Nevertheless, there are several positions that, we believe, can somehow help teachers in preparing for participation in the professional competition "Teacher of the Year". They are schematically expressed in Figure 1.
What is the best place for a teacher to start preparing for the competition? From the analysis of their own teaching experience. What have you already managed to do over the years of work in the profession? What happened to learn and understand at this time, and also, perhaps, before working in the field of pedagogy? Many ideas that came indirectly, and not only in the process of study or preparation for classes, have sufficient potential to be effectively used in professional activities. These positions - ideas, approaches, notes, even small thoughts - should be written down (or sketched, sketched).
At the same time, it is important to remember on the basis of which elements the teaching methodology of any subjects is built: learning goals, learning objectives, learning content, forms and methods of teaching, teaching aids (didactic), learning outcomes.
Learning objectives are set by state standards, federal educational programs; training goals are traditionally presented as a triunity of training, developmental and upbringing components. Tasks - "steps" to achieve the goal - the teacher can formulate independently (developing the author's course) or use ready-made ones. The teacher, as a rule, selects the content of training himself, relying on the requirements of state standards; and already at the stage of content selection, elements of pedagogical creativity may appear. The forms and methods of teaching have actually been studied, and an interesting and effective selection of them in order to achieve educational goals can become a feature of a particular course. Didactic teaching aids - a wide field for the manifestation of creativity, resourcefulness, originality of the teacher (and his students); they can be expressed in completely different forms and forms, including intangible ones. Different approaches to the organization of educational activities lead to different pedagogical results, both positive and negative; it is necessary to competently and adequately analyze the results obtained in order to adjust the activity later.
A very important point is the study of advanced teaching experience. It can be expressed in various forms, sources. The simplest thing is to read newspapers, pedagogical publications, open books written by famous (and not so famous) teachers of both our time and the past. You can use the resources of the Internet, although it should be noted that the information there is voluminous and multifaceted, but at the same time chaotic and fragmented, so you will have to spend quite a long time on such work. Nevertheless, now in Russia there are several sites dedicated to pedagogical topics (lesson development, plans, manuals).
For a better understanding of your experience and the study of someone else's, it is useful to talk with other teachers, especially publicly recognized, distinguished specialists. You should contact other educational institutions: attend open lessons and master classes, seminars and, of course, refresher courses, receiving useful information in a concentrated form.
The experience of our colleagues from the Moscow region and other cities of Russia is not useless. At the same time, the exchange of views can take place both during offsite events and virtually, via the Internet (conferences, e-mail and even "chat" - a quick exchange of short messages). The experience of teaching a specific subject (or similar in focus) in other countries is unique and extremely entertaining. Perhaps the biggest drawback in this case is the language barrier, but such interaction of teachers, especially in a personal conversation or when participating in an open event, is simply irreplaceable, it can radically change many ideas about teaching.
In the process of getting acquainted with the work of colleagues and after that, the stage of rethinking one's experience begins, which can be figuratively presented as a kind of filter, a sieve that separates the important, useful from the insignificant - "husk".
In the process of such elimination, useful thoughts and findings are born, external techniques and stereotypes are refracted to their theory and teaching practice. It is better to write down such thoughts, as they can gradually transform, sometimes leading away from the main goal. In the process of writing (it should be noted that sometimes it is even difficult to choose words suitable for the emerging images), the elements of a new pedagogical idea, a set of views, and a concept are formulated.
When some fresh ideas have been born and written down, it makes sense to proceed to the most exciting and time-consuming stage of approbation of the idea - through a series of experiments, involving various pedagogical technologies, techniques, approaches. It is not easy to prepare a new lesson by thinking it over from start to finish right away, because to achieve the most interesting, effective and effective results, you need to experiment with various techniques, methods, forms, ways of transferring educational material. And this is within the framework of one or two lessons, so it is beneficial to experiment on several parallels of students. At the same time, some new elements of the lesson are easy, some have to be redone, and some have to be postponed altogether. You should constantly remember about the main, already named components of the methodology - they become the main structural components of any lesson; if these components are clearly defined and interrelated, one can speak of a holistic teaching methodology. The lesson must meet the basic requirements of didactics.
So, as a result of this long-term activity, one can come to a solution - to determine the most successful, close, optimal lesson option. Often, in this case, the teacher has to again turn to the sources of pedagogical experience - to read, talk, attend courses and seminars, in order to better feel the meaning of the technology adopted or created independently, to become more confident in his pedagogical idea.
A new idea must be “tested for strength”, backed up (or refuted) by compelling arguments from authoritative experts. This role can be played by colleagues, representatives of the school administration, “acquaintances of the professor,” and other professionals whose occupation is related to teaching. At the same time, they must be as objective as possible, unbiased in relation to you; they should delve into the lesson methodology in the context of the pedagogical idea, concept formulated by you. It must be remembered that in this case it is not the developer who should be criticized, but the approach, idea, structure and content of the new lesson. It is possible that after this event you will have to change something in the elements of the lesson again, or maybe you should take a critical attitude to the criticism itself and insist on your own. The teacher can decide this according to the current situation only himself - as the creator of the idea.
And when the teacher's confidence in his abilities, in the clarity of his ideas, in the effectiveness and efficiency of his lesson is strengthened and reaches a turning point, you can praise yourself for the hard work. And then go out to public performance through competitive events.
It should be emphasized that when entering a professional competition, you need to tune yourself in to readiness:
to an adequate perception of criticism;
to non-standard improvisational tasks;
to be persistent and evidential in presenting one's opinion, concept;
to attunement to the position "I know how to solve a problem."
In the course of competitive tests (and simply over time), the teacher will have to repeatedly analyze his activities, return his thoughts to what goals he pursues, what results and by what means he wants to achieve; whether the chosen paths, methods, methods, technologies correspond to the set goals and objectives; and does anyone even need all this? Of course you do. After all, as they say, "water does not flow under a lying stone ..." In order for the world to develop, change for the better, it is necessary to constantly make appropriate attempts, to strive for the best ourselves and to drag others along. In this direction, there will invariably be both successes and failures. Both successes and mistakes will entail a new creative idea, and communication and purposeful interaction of colleagues, mutual assistance will lead you on the right path. The main thing is that the students, communicating with the teacher in his lessons, find for themselves something important, valuable, and memorable. This, in fact, is one of the main missions of the Teacher.
Over the past three years, my students have been actively participating in the reading competition, both in school and in the district. The guys take prizes, which, of course, stimulates them for further work, makes them want to achieve high results in the future.
Today I would like to present to your attention a master class on the topic: "From pages to the stage, or preparation for the reading competition", in which I propose a system of work in preparation for the reading competition.
Tasks : 1. Summarize the theoretical material on this topic;
2. To acquaint with the practical material on the topic, with a complex of breathing and articulation exercises, exercises for clear diction, the logic of speech used in the system of work; with the peculiarities of working on creating a stage image.
3. Submit recordings of the performances of the children.
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"From pages to stage, or preparation for a reading contest"
(Master Class)
Russian language and literature
MKOU SOSH №85 "Taishet
Irkutsk region
Over the past three years, my students have been actively participating in the reading competition, both in school and in the district. The guys take prizes, which, of course, stimulates them for further work, makes them want to achieve high results in the future.
Today I would like to present to your attention a master - class on the topic: "From pages to the stage, or preparation for the reading competition", in which I propose a system of work in preparation for the reading competition.
Tasks : 1. Summarize the theoretical material on this topic;
2. To acquaint with the practical material on the topic, with a complex of breathing and articulation exercises, exercises for clear diction, the logic of speech used in the system of work; with the peculiarities of working on creating a stage image.
3. Submit recordings of the performances of the children.
In the 21st century, the problem of reading has become almost the most acute. Children who are completely carried away by TV, computer, do not read at all, all the more indifferent to the lyrics. But Russian literature has given the world, its readers a great wealth of "magic sounds, feelings and thoughts" of poetry. She always awakened "beautiful impulses of souls", taught to see beauty and fight for it. It is unbearable to see that this wealth passes by those who need it so much.
Of course, every teacher strives to develop in children not only an interest in poetry, but also an understanding of its laws, a high artistic taste, and creative independence.
For this, students must realize the great purpose of poetry, learn to understand its laws and language, be able to convey to the audience the feelings and experiences contained in the poem.
The preparation for the reading competition is based on the process of integrating such basic directions as literature, music and performing arts.
The system of my work includes the following stages:
Stage I Preparatory (I also call himmotivational ). Working with the student. This stage is initial, directly related to psychology.
I pay special attention to the child, his individual characteristics: the development of memory, the process of thinking; temperament also plays an important role. For a certain time in the classroom, I observe how emotional the child is, has a desire for self-expression through poetry. I also conduct conversations aimed at identifying a positive attitude towards music and performing arts.
Book
II stage. Literary heritage.Working with the book. Chasingtarget : give the child the opportunity to freely choose (he chooses the author, theme, poem). If difficulties arise, then I offer my options. It is important to convey to the student the significance of the volume of the poem (a small poem may contain a deeper meaning than a large one), to focus on the little-known facts of the author's biography, his role in literature.
Stage III. Working with the author's style, music.At the end of the second stage, I immediately proceed to the third, associated with the author's style. I put emphasis on the peculiarities of the author's language, the structure of the poem, his skillful use of pictorial and expressive means that make the work more imaginative and extraordinary. In addition, I compare the style of one author with the style of another, if necessary, looking for the advantages of one over the other. At this stage, we select the music corresponding to the poem. The choice depends on the mood with which it is imbued.
Culture and technique of speech.
IV stage. Working with the word. It should be noted that here all attention is paid to the culture and technique of speech. The main place is given to exercises aimed at developing breathing and freedom of the speech apparatus, the ability to master articulation, clear diction, various intonation, and the logic of speech. Exercises help children form the correct pronunciation, learn to accurately and expressively convey the author's thoughts, develop imagination, the ability to represent what is being said, expand vocabulary.
Speech exercises are very important in the work system.
I start with breathing training.
- "Shepherd boy". First, inhale air through the nose, then exhale sharply into the tube. The first exercise restores breathing, prepares for further work.
- "Airplane". Spread your arms to the sides, palms up, raise your head up, take a deep breath. Then make a left turn and say: "F - f - f." Standing up straight and lowering your arms is a rest before the next exercise.
- "Wind". Inhale the air, hold your breath, placing your hand on your left chest. Be in this position for 30 seconds, then exhale with all your might. You can do it 2-3 times.
Then I move on to work on diction, sound range, voice power, speech rate. It all trainson tongue twisters:
- Mow, scythe, while the dew.
Spit down, and we are home.
2. The king is the eagle, the eagle is the king.
3. On the hill, on the hill, Yegorka roars bitterly.
4. On the window, the midge deftly catches the midge with its paw.
5. From the stomp of hooves, dust flies across the field.
6. Mom washed Mila with soap,
Mila did not like soap.
7. Have you washed raspberries?
We didn’t wash it!
8. Rake made crab crab:
"Rake gravel, crab"
or on poems.
1. A.S. Pushkin “What a night! Crackling frost ... "
What a night! Crackling frost,
There is not a single cloud in the sky;
Like a sewn canopy, blue vault
Dazzled with frequent stars.
Everything is dark in the houses. At the gate
Locks with heavy locks.
- A.S. Pushkin "Winter Morning"
The whole room is amber shine
Illuminated. Merry bang
A flooded stove crackles.
Nice to think by the couch.
But you know: shouldn't you order to the sled
Turn the brown filly?
3. I.A. Krylov fable "The Crow and the Fox"
Darling! How good!
What a neck, what eyes!
Tell, really, fairy tales!
4. A. Block "I bless everything that was ..."
I bless everything that was
I was not looking for a better life
Oh, Heart, how much you loved!
Oh, Reason, how much you burned!
Performing arts
Stage V. Performing arts. This stage is closely related to the previous one. These stages of work are the longest and most important, they involve a lot of work for the child. Its task is not easy: it is necessary to bring the experience of one's own perception, feelings, experiences, to charge the listeners with them.
Acting exercises should hone attention, imagination, organic behavior, and expressiveness.
- "Hamster" (two children involved)Chew imaginary chewing gum so that the whole face moves. And then the guys, standing in pairs, show off with facial expressions to each other who has the tastier gum.
- "Faces »Raise the right eyebrow. Lower. Raise your left eyebrow. Lower. Raise both eyebrows. Lower. Without opening your lips, move your lower jaw up, down, right, left.
Flatter your nostrils. Move your ears. Draw out your face.
Break into a smile. Without unclenching your teeth, raise the top
Lip and lower it. Do the same with the tongue by moving it
In the mouth right, left, up, down.
The work on creating a stage image is preceded by listening to audio recordings and watching videos with performances of famous poets and actors, discussion of what he saw and heard.
I especially note that a child should be able to stay on stage, strive to show his talent, be liberated. Before going on stage, you need to know that "I can!" The most important thing is to assure the audience that you know how to live in the image. In this, no doubt, facial expressions, gestures and such artistic details will help, as It is at this stage that the child's ability to attract the attention of the audience through his talent is revealed.
VI stage. Forms of control. I mean the result of the child's work: participation in lesson and extracurricular activities, in reaching the district level.
School (level)
District (level)
VII stage. Reflection. It is appropriate to talk about the results of the performance: the student's first impression is what worked out, what did not work out. After several days, we jointly objectively assess the possibilities. The main thing is to set the child up for a system of work that will bring high results.
"The joy of working on a book is the joy of victory over time, over space." Each child is talented in his own way, you just need to be able to reveal his abilities. This is not an easy task, but doable. It is worth capturing the student into the extraordinary world, and any heights will submit to him. Of course, the result depends on the joint activities of the teacher and the student.
First, we decide on the date of the performance and the place. Knowing the exact date makes it possible to correctly and rationally calculate your capabilities and the time allotted for preparation. Don't put off, even if you are absolutely confident in yourself and your child. Completely unpredictable circumstances may arise that will play a negative role (the child is sick, the suit is damaged, etc.).
Secondly, you should know that the main document for the starting point is the "Regulation on the conduct of a regional (zonal) tour among vocalists." As a rule, it contains basic information for the teacher or organizer, therefore it is necessary to obtain a photocopy of this document for personal use. In case of misunderstanding with the organizers, you will have a document signed by them. Why is this needed? First of all, this is a responsible competitive event for you, since the encouraging documents received there (letters, diplomas, certificates) will positively characterize your work with students, and they will be brought joy and confidence in their abilities. And for the organizers, this is an ordinary event, within the framework of organizational activities, and for "good" reasons they can change the conditions of the competition, the date, time and even the venue, simply "forgetting" to warn you or your management about it.
Next, we study the situation. Very carefully, down to every comma. The age of the children, the number of pieces performed - all this must be indicated. As a rule, this is the case, but I have seen exactly the opposite. Do not expect your 14-year-old to perform instead of the 12-year-old: the organizers may ask for a document confirming their age. Then trouble cannot be avoided.
You should not prepare 3 pieces instead of the required two, hoping to persuade you to perform another one. You will not surprise the jury with this, but you will spend time preparing.
Pay attention to the requirements for the performed works. As a rule, they should be varied. This does not mean at all that you can take songs that are close in content and harmony, but of different tempo. This would be a serious mistake. The task of the soloist is to show his skill in transforming the musical and stage image, instant reincarnation. It is recommended to use a complete set: from folk art and variety art in the "pop" style, from classical songs and jazz, etc. Of course, this largely depends on the age and level of training of the performer. Young children (up to 10 years old) can be limited to two children's songs. For example, one of the famous cartoon, the other - popular authors of children's songs. Do not take youthful and adult songs for this age category, even if the child performs them well. This is a violation of the conditions, which means a guaranteed loss. Undoubtedly, this happens, but this is an exception to the rule.
Next, we study how the work should be presented. In recent years, the so-called "show numbers" have become very popular. What it is? In order to make the soloist's performance staggering, he is often accompanied by a group of artists of similar age who are not involved in vocal performance. They can create a background for the soloist, performing both a ready-made dance to the soundtrack, and making movements in time with the music, emphasizing the expressiveness of the lyrics of the song being performed. It is great if the soloist knows the choreography and, without interrupting the performance, "fits" into the dance group. This is the standard show number. The main thing in it is the harmony between the artists on stage. With good, competent preparation, success is guaranteed. An interesting solution can also be found by using actors on stage with a change of action without choreography. But this should be approached with caution, with the help of a theater director.
You can use original and simple decorations, again - emphasizing the meaning of the piece being performed. It's all about the image of the soloist. I have often been on the jury at such competitions. And, believe me, even a simple bouquet or scarf in the hands of a performer, correctly and creatively used, is sometimes worth a whole dance group. If your piece is clearly weaker, then you should not enhance it with a show number: a mediocre dance or production is unlikely to decorate weak vocals and intonation. There are cases when a dance group is clearly better prepared than a soloist, which plays a negative role for him. But a simple, but well-made background will give significant weight to a successfully and skillfully performed song.
If you have any questions about the terms of the competition, you must personally ask them in advance by phone, which must be indicated in the regulation. You should not rely on someone, information is often distorted.
When the conditions are studied, we begin direct preparation. We select the contestants. Any teacher wants all his students to be winners or laureates, but, unfortunately, this does not happen. You will still have to choose the best, and if the quantity is limited. It is not worth hoping that they will suddenly listen to two, you can inflict psychological trauma on the child without defending his performance, and make trouble for yourself. To the parents' statements that they really want to see their child on stage, whose success you are clearly not sure, answer politely and correctly. Promise, but not unfoundedly, that they will definitely perform in concerts and smaller competitions. After all, contests for this exist to identify the best.
If you have a candidate, immediately decide on a show number. Why? You will need to find a suitable choreographic group, talk to the director so that he is aware of the terms and conditions of the competition. Respecting the opinion of children and a competent teacher will certainly personally talk to the dance group (of course, in the presence of its leader), explain the task to them, interest them creatively and convince that the performance will be a joint number. The soloist will have to become a part of the rest, so his presence during this conversation is also necessary. You may need costumes, decorations, etc., which may not be available. Therefore, if you stopped at a show number, get to work immediately. If a subject is set in the conditions, then it is desirable to observe it, although no one has the right to force you to adhere to it exactly. Let at least one work reflect it, the rest is your creativity.
If you have decided on the musical material, the song suits the child in terms of age, according to the subject of the competition, looks advantageous, and the participant likes it, and the show group does not raise any questions, then the next stage is the phonogram. There is such a point in the contest sheet: the quality of the phonogram is estimated by points. How to pick it up? It is good if the organization employs a person who produces phonograms. This is ideal, but it is often rare. If you are lucky, then before ordering a phonogram, decide on the key. Experienced vocal teachers know how to do this, for the rest I can wish the following:
- Do not use a song that clearly exceeds your child's vocal range. Even if he sometimes "takes", which makes you very happy, do not hope that inspiration will come on stage and everything will work out. Practice shows that in nine cases out of ten it does not work out (excitement, stress, “someone else's” scene, competitors around, etc.), so the phonogram must be made within the reach of your student.
- Today on the Internet you can find a great variety of backing tracks. If its tonality does not correspond to the child's capabilities, then it can be corrected using special high-quality sound processing programs such as CUBASE. Seek help from a colleague who understands MIDI technology. The key should not be changed by the computer until the phonogram is unrecognizable. Optimally, plus or minus 1-1.5 tones. If it does not work out, then it is better to choose another musical material based on the student's capabilities.
- Separately about the "karaoke" phonograms. There are a lot of them on sale, but they are intended more for home entertainment than for use as backing tracks in competitions. Believe me, none of the jury will appreciate the very loud and annoying, and sometimes inaccurate sounding of the auxiliary melody in the general minus of the phonogram. Very often she simply hides the voice of the soloist. The result will be low.
During the preparation of the contestants, you should not switch to them completely, as the rest of your children will feel abandoned, which is unacceptable. Classes should be conducted in the usual mode, devoting a little more time to the competition works. Remember that for the rest of the students, the contestants will become a kind of standard, so everyone should learn the competitive works. So the rest will feel like future applicants and work with full dedication.
I will not dwell on the method of direct preparation of the child - each teacher has its own, I advise only to pay attention to some of the nuances:
- Do not try to immediately rehearse directly on stage - first disassemble the piece that you will be performing, literally in beats. Performing on stage requires an appropriate image and interaction with the show group. And children, as a rule, value expressiveness much higher than the correctness of a song. It is very annoying to observe the following picture: the contestant interacts well with the dancers, smiles at the audience, holds the microphone correctly, but gets confused in the text and does not observe musical harmony. One gets the feeling that someone from the show group was asked to sing. To prevent this from happening, focus on vocals. When a soloist knows the piece he is performing well, it will be much easier for him to play it on stage.
- Try to carry out the dress rehearsal in a suit and with a show group. This primarily applies to children of the younger age category (up to 10-11 years old) due to their great emotional sensitivity. An overly complicated costume, props in hand can distract the soloist directly on stage, so rehearse everything on your stage to the maximum in advance.
You should arrive at the venue at least half an hour before your performance. You need to take the following with you:
- Phonogram (on two media, for example, a flash card and a CD-disk in WAV format) Why? In case of failure of one of the carriers, you do not have to run home.
- Regulations on the competition. You will be armed with documents in case of violation of the terms.
- Camera. (Document your performance)
On arrival, find the organizers of the competition and politely ask any questions that interest you - they are obliged to answer you, even if they are extremely busy. Remember: this is their job. Next, find the contestants' performance plan and make sure you are on the list. Approach the sound engineer in advance and give him your phonograms. Ask (politely) to make sure they play, even if the engineer assures you that he is always doing well. After that, go backstage and ask them to give you a microphone that the contestants will use - you must be given it. Figure it out for yourself and explain to your child how to turn it on. Believe me, for some reason, all the organizers believe that you have exactly the same microphones. If turning on the microphone causes technical difficulties for the child, give him the already turned on microphone. Of course, if the organizers themselves do nothing. It is not uncommon for children, worried, could not cope with the switch and the number turned out to be "blurry". Remember - not all members of the jury can feel this.
You need to confidently start singing the song. Not loudly, but confidently. Why? In the first seconds of the microphone operation, the sound engineer adjusts it as quickly as possible to the voice of your soloist. This time depends directly on how confidently and evenly the child began to sing. We hold the microphone three to five centimeters from the lips, on loud, long phrases we increase this distance to 10 cm, no more. If the soloist holds the microphone far away during the performance, this will entail a decrease in the vocal volume, so the sound engineer will most likely turn down the volume of the phonogram. And this will entail the confusion of both the vocalist and the show group on stage. You should not be equal to television music programs, where the microphones of the artists do not cover their faces. Explain to your child that this is a phonogram and the purpose of these programs is completely different.
It's good if you have the opportunity to attend a live concert. Even small performers. Trust me, a real example of live performance will only have a positive impact on your kids.
Shabelnik Evgeny Nikolaevich,
additional education teacher,
Medvedovsky CRTDiU,
Municipal District Timashevsky District of Krasnodar Territory
Natalia Korshunova
Master class "Preparing children for competitions"
goal: introduction of participants master-class with experience in the development of the prosodic side of speech of preschoolers.
Equipment: chairs, tables by the number of participants master class, finger puppet theater, the text of the poem is distributed to participants before master class.
CRC: presentation - 15 slides;
Hello dear colleagues, members of the jury!
Childhood ... the most wonderful and carefree time. Childhood is happiness, a storm of emotions, a lot of impressions. We only understand this when we grow older. Childhood is the foundation of our life. It's hard to disagree with the fact that (slide) "The years of childhood are, first of all, the education of the heart"... And how the heart of each of our pupils will be brought up depends largely on us teachers, because it is we "Sculpt" from a child's personality, we reveal and develop his talents and hobbies, instill values \u200b\u200band qualities.
What is inherent in us during this wonderful period remains with us forever. In the life of every person in childhood, there are some bright unforgettable moments. And each of us cherishes them in our hearts. And how great it is that warm memories of an amazing, wonderful time are kept in our memory, when you could endlessly have fun, wonder, play.
Dear colleagues, can you name in a nutshell what is most vividly preserved in your memory from childhood? (answers audience: mom's lullaby, toys, holidays, etc.)... Good. Interesting.
And the poems? Do you remember the poems of your childhood? Name them or read the line (audience responses).
Why do you still remember these poems? (told adults: educators, parents).
As a child, I listened to poetry and did not understand, or, more precisely, did not think what their secret was. Now I read them to my child, being pupils an adult: but the feeling that I am a child does not go away. And only now I understand that the soul of the author and the person who told us is put into the poems.
In the preschool institution in which I work, the provision of speech therapy assistance is carried out in the conditions of a speech therapy center and deserved attention in the correction of speech disorders in children paid to the development of this side of speech as: prosodic.
The search for methods and techniques that contribute to the effective solution of pedagogical problems associated with the formation of the prosodic component of speech among pupils and at the same time interesting to children, allowed me to form a certain algorithm of such an important direction in work as preparing children for competitions, and in this case we will talk about preparing children for reading contests.
So my topic master class: "How prepare your child for the reading competition?» ... What's new, you say? There are techniques for learning poems, technologies for the formation of intonational expressiveness of speech. But, in my opinion, they can be made more effective by considering in unity with the preliminary preparation to the perception of poems.
I will quote: "Tell me - and I will forget, show - and I will remember, let me try - and I will understand." I propose to try together today prepare a child for the competition... Do you agree? So let's get started. In reality, this work takes from 1 to 3 weeks, depending on the volume of the poem. Thanks to colleagues who volunteered to help me, I hope together we can cope within the time allotted for master class.
And I propose the first interesting trick, which is called "Well no"... Here I have a hidden object, guessing which you can find out the name of the poem. Guess what is drawn here. I remind you the rules, you can ask questions, and I will respond: well no (asking questions).
Okay, I'll give you a hint. It grows, it has a trunk (asking questions)... Yes, it's a tree (on the slide)... The poem with which we will work today is called "Miracle tree"written by Kornei Chukovsky.
Pick up poems with bright, specific images, since the child's thinking is imaginative, they are easier to remember.
The child is already interested, just like you are now, you will agree.
The members of the focus group, following detailed instructions, complete the proposed tasks, and we will turn to it a little later.
To arouse your interest in the content of the poem I suggest ... to watch the cartoon based on the poem by Korney Chukovsky. Attention to the screen (includes an excerpt from the cartoon).
I propose to do so. Whoever wants to learn this poem, let him clap his hands three times. Whoever did not want to, I will not ask, because this technique is children always makes you want to learn the proposed poem.
And I want to ask the focus group participants what they made?
(3 pairs of 2 persons: we have developed a guide to help motivate a child to memorize a poem. Each group describes their manual, I attach them to the magnetic board)
That's right, the speed and quality of the memorized poem depends on the mindset, motivation (what is it for)... The attitude mobilizes memory, attention, the child tries to remember the text faster and better. These guides will help children remember why they are doing it throughout preparation for the competition... Applause to the participants.
Dear colleagues, what do you think, with the help of which you can show the mood of the poem and create the desired image? (with music)... Correctly. Pay attention to the screen, in front of you is part of the text of the poem (on the slide)... I suggest you play "Guess the melody".
Listen to three pieces of music and determine which one best conveys the mood of the poem (I include three fragments, find out which music suits the best)... Thanks everyone!
We continue to prepare for competition and smoothly move on to work on the rhythm (prosody)... And let's play a game "Agree a word"... Help me.
Like ours ... (gate)
Miracle tree ... (growing)
Miracle, miracle, miracle, miracle ... (wonderful) (Develop the ability to feel the rhythmic pattern of the poem and insert words that fit the rhythm and meaning)
And now I offer you a technique called "And this - maybe?"... Dear colleagues (I take a hammer from the table, I brought a hammer for the game. And I claim that this is a measuring device. Is my statement true? Why? Prove (estimated answers) Listen: like ours at the gates. What have I done? (named the phrase, tapped with a hammer, keeping the rhythm of the spoken phrase). (I refer to the focus group, they take sounding objects from the table)... How else can you tap the rhythmic pattern of a word, phrase, if you don't have a hammer at hand? (they say, showing their instruments)... The members of the focus group will now tap with their measuring devices one of the phrases of our poem (both are written on the screen, and you, dear colleagues, have to determine which of them this rhythmic pattern is suitable for.
And how do you get out of the situation if there are no measuring instruments at hand? (addressing the audience)... You dear colleagues will be"Stompers", and you (referring to the focus group) dear Colleagues will beClappers... And now we'll clap and trample the phrase together "Masha - leggings, Zinka - boots, Ninka - stockings"... Ready? (some clap, others stomp, and I do with them at the same time, stomping and clapping) Applause to each other!
Ending i offer a simple preparation for the competitionbut effective exercise “Puppet theater of one…. finger " (referring to the focus group)
Place the toy on your finger. This is a puppet theater actor. I will be the director. The actor needs to learn the roles for the play.
Role of the first actor:
Not leaves on it
Not flowers on it.
And the stockings and shoes are like apples! (actor repeats)
Role of the second actor:
What are you yawning
Don't you cut them off? (actor repeats)
So, while playing, you specify with what intonation the child will pronounce each phrase in the poem.
Thanks to the actors. Who liked the exercise tell loudly: Yes!
Who didn't like: say the same word, just quietly.
Well, dear colleagues, let's see what we have done. Attention to the screen, Vika Raizich speaks (includes a video of a poem performed by a child)... Hail your applause!
Childhood is our past. This is a journey that no one has ever made twice. Try to make sure that your children, your pupils carry the memories of him throughout their lives. And the poems learned together with you remained the most vivid memory of this wonderful time.
Thank you, dear colleagues for your help in conducting master class... If you are interested in this topic, I invite you to cooperation.
Related publications:
"Gnomes" master class for children 5 years old. Purpose: to teach children to see something magical in a simple object. Objectives: 1. develop creative imagination.
Good afternoon! This time with the children, we will get to know the postman profession in more detail. He brings us newspapers, magazines, letters. Letters, telegrams.
Children write a lot and for a long time in the classroom at school. This is expressed in numbness of the hand and fingers holding the handle, in their slight numbness.
Think over your strategy
To be selected in any competition, to get a job, to achieve results in any business, to be happy in life is always a strategy. A clear head, a clear idea of \u200b\u200bwhat is important and what is not, the willingness to make decisions, desires and dreams that are framed as a plan of action - all this is important. You must know exactly what you want: if you do not know where you are going, then the result may not please you.
The question "What will you do after leaving school?" was the most difficult in the meetings with the candidates. Few had a plan of action, very many did not think about it at all. This was a discovery for us. Some directly said that they were not going to become product designers, that they went to school for the skills they needed for other work. In the end, we took one of these candidates: to complete the test task, he mastered the layout in one day. His learnability and focus on results is what is valuable to us in the first place. We know for sure: this is not a jug without a bottom. Everything that we invest in the participant, he will carefully take somewhere - it does not matter whether to Yandex or not.
When people come to me to consult about their development or their difficulties, I advise them the exercise "I am a company." The point is to imagine yourself as a company - with resources, logistics, marketing, sales, and so on - and understand what you are missing, what is the problem. When you imagine yourself as a factory, it brings clarity and discipline. A separate interesting observation is the type of business you present yourself to. Find a good companion on this topic, think together.
Don't ignore questions
It's strange to talk about this in the councils, but still. If the questionnaire is not completed completely, then first of all it is regarded as disrespect. It's not in vain: if this question is in the questionnaire, then the organizers need your answer. Each field of the questionnaire must be filled in.
Show you
Any profile is your silent seller. It depends only on you whether this seller remains dumb or speaks. We did not leave a place for attaching the file in vain, although very few used it. The essence of the essay is very important, but the design is doubly important. If your eyes don't hurt from a bad layout and fonts that have gone, it doesn't hurt from a loose encoding, this is a signal to work on the feeling of beauty, aesthetics. Aesthetics is something that is very difficult to acquire. Imagine that a modern da Vinci did your work. Does it work? If not at all, take it and redo it.
Pay attention to details
Your competition application or job application must be perfect. This is the very case when perfectionism needs to be turned on to the maximum. Errors and irregularities will still come out against your will, but you cannot voluntarily leave them. Everything should be so that you are satisfied.
Ask yourself the question: why me?
The application for admission did not include the standard “Tell us about yourself” question.
Our question sounded like this: “Share your professional dream. What project would you mind giving part of your life? What people would you like to work with? " The question both gives space for answer options, and helps to open up, tell about yourself. It, like many other things at school, was invented by Danila Kovchiy, art director of Search.
An open question suggests an open answer. The best format for this is an essay.
Photos: Stanislav Sabirov