Fable dramatization competition I. A. Krylova
Goals:
show the skill of Krylov the fabulist in depicting the characters of the heroes, the aphoristic language of the fables, their closeness to colloquial folk speech;
develop the creative and acting abilities of students;
to form a sense of beauty, interest in the work of I.A. Krylov and literature in general;
instill a love and interest in reading.
Participants: 2 age categories: students 1-4; 5-10 grades.
Decor: The scene is conventionally divided into two parts; each of them is illuminated and decorated accordingly at the right moment; on the right side of the stage there is an antique chair and table; an artist in the guise of the fabulist Krylov will sit on a chair with a pen in hand and a sheet of paper, and there is a candle on the table.
Epigraph: “I love, where there is an opportunity, to pinch vices” I.A.Krylov
Progress of the event
SCENE 1.
A piece of music plays.
The curtain opens. The music is slightly muffled.
Presenter 1:
Presenter 2: Hello!
Presenter 1:
Presenter 2: Russian language.
Presenter 1:
Presenter 2:
Artist 1:
Artist 2:
Artist 3:
Artist 4:
Artist 5: According to merit and honor.
Artist 6:
Artist 7:
Artist 8:
Artist 9: Such is the honor.
Artist 10: Life is given for good deeds.
Artist 11:
Presenter 1:
SCENE 2. Fabulist
No; you still need skill,
And that you have it
A spring flower is more tender.
Presenter 1: Two centuries have passed since the days when Krylov wrote his fables, but Ivan Andreevich’s fables live on, the people know them, love them and appreciate them. They became his property.
Presenter 2:
Presenter 1: Let me introduce the jury of our competition:
veteran of pedagogical work, teacher of Russian language and literature Anna Ivanovna Tarabanova;
Deputy Director for Academic Affairs, Kazakh language teacher Murzabekova K.B.;
teacher of the pre-school preparation class Kobeleva O.P.
Presenter 2: The main criteria for evaluating the competition are:
expressive reading of a fable;
performing skills;
selection of costumes and attributes corresponding to the content of the fable;
Presenter 1:
Thus, based on the results of the competition, three prize places will be determined among primary classes and three prize places among grades 5-10.
Places will also be awarded: “For Best Actress”, “For Best Actor” and “Audience Award”.
Presenter 2: So here we go! And the name of the first fable, you, the fans, must guess for yourself. What fable is the phrase from?
"Jumping Dragonfly"
The red summer sang..." (Dragonfly and Ant)
Right! Our competition opens 1 "B" class with the fable “The Dragonfly and the Ant”.
Presenter 1: What fable is the following phrase from?
“How, dear Cockerel, you sing loudly, it’s important!” ("The Cuckoo and the Rooster")
4"A" class with the fable “The Cuckoo and the Rooster”.
Presenter 2: What fables of Krylov about the fox do you know? (“The Crow and the Fox”, “The Fox and the Grapes”, “The Good Fox”, “The Wolf and the Fox”).
Presenter 1: Let's say thank you to our little contestants for not being afraid to take part in such a serious event, and even, on the contrary, coping with the task superbly and proving themselves to be real artists! ( Applause).
Presenter 2: Now it’s the turn of the next age category.
Let's continue to guess. From what fable is the phrase “A pig under the centuries-old oak tree..” (“The pig under the oak tree”) Correct! Our competition continues 5 "A" class with the fable “The Pig under the Oak.”
Presenter 1: We invite you to the stage next 5 B" class with the fable "Demyanov's ear".
Presenter 2: Guess the shapeshifter. What kind of fable are we talking about? “The devil once gave a lot of fat to the magpie.” (“Somewhere God sent a piece of cheese to a crow…” from the fable “The Crow and the Fox”).
Right! We invite you to the stage 7 "B" class with the fable “The Crow and the Fox”.
Presenter 1: Which character does the following line belong to?
“Have you been singing everything? This business:
So come and dance!” (To the ant from the fable “The Dragonfly and the Ant”)
Right! We meet 8th grade “B” with the fable “The Dragonfly and the Ant”.
Presenter 2: What names did the dogs have when they were talking about an elephant walking down the street? (Pug and Shavka) From what fable? (“Elephant and Moska”).
Right! We invite you 9 "A" class with the fable “Elephant and Pug”.
Presenter 1: What is the name of the fable about four unlucky musicians? ("Quartet").
Right! 9 "B" The class will perform the fable “Quartet”.
Presenter 2: From which fable does the famous phrase “The strong always have the powerless to blame”? ("The Wolf and the Lamb")
Right! Our competition ends 10 "A" class with the fable “The Wolf and the Lamb”. Let's meet!
A piece of music plays.
Presenter 1: Let's invite all our contestants to the stage and reward them with loud applause for their responsible approach to the event, conscientious work and acting skills!
Fabulist: Yes, you still need skill,
If you want to not destroy yourself in people
... Every step
You should think about yours like this,
All artists
The artists all bow to the audience and leave.
Presenter 1: Our competition program has come to an end. The jury sums up the results.
In the meantime, our jury is deliberating, let’s answer the quiz questions.
From what fable?
1. - Sing, little light, don’t be ashamed! What if, sister,
(Fox, "The Crow and the Fox")
2. - They only lied to me about the glasses;
But there is no use for hair in them.
3. - Gossip, this is strange to me:
Did you work during the summer?
4. - Listen, buddy!
(Donkey, "Donkey and Nightingale")
5. - This is what gives me spirit,
What am I, without a fight at all,
(Moska, “Elephant and Moska”)
6. - Wait, I found a secret!
We'll probably get along,
Let's sit next to each other!
(Donkey, “Quartet”)
7. - I am your old matchmaker and godfather.
(Wolf, "Wolf in the Kennel")
8. - Vaska the cat is a rogue! Vaska the cat is a thief!
There is no need to let him into the yard,
Like a greedy wolf in a sheepfold.
(Cook, "The Cat and the Cook")
Presenter 2: Quiz for fans ""Puss in a poke"
(Cheese, glasses, mirror, bass, donkey, nightingale, balalaika, monkey, etc.).
Presenter 2: The jury's word to sum up the results of our competition(Musical fragment. Fanfare for presentation).
Presenter 1:
Presenter 2: See you again!
A piece of music plays. The guests leave.
Fable dramatization competition “Visiting I. A. Krylov”
Progress of the event
SCENE 1.
A piece of music plays. A curtain.
The curtain opens. The entire stage is illuminated. All the performers are dressed as their characters on their respective parts of the stage. The artist, in the guise of the fabulist Krylov, sits on a chair and “writes.”
A piece of music plays. Background for presenters (quiet).
Presenter 1: Good afternoon, dear guests and competitors!
Presenter 2: Hello!
Presenter 1: We are pleased to welcome you to the fable dramatization competition dedicated to the 245th anniversary (two hundred and forty-five years) of the birth of the great fabulist I. A. Krylov.
Presenter 2: Our people have long called I. A. Krylov Grandfather Krylov. Since childhood, from school, we have been familiar with his fables. Even before Krylov, fables were written, but Ivan Andreevich wrote them better than anyone else. He wrote so simply, so popularly, that everyone remembers their wonderful Russian language.
Presenter 1: Krylov showed us a whole menagerie in his fables. But under the guise of animals he portrayed people. Behind these lions, foxes, monkeys, he showed human characters, laughed sometimes evilly, sometimes softly at the shortcomings of people, exposed and condemned human vices.
Presenter 2: The lines of Krylov's fables have long become proverbs and sayings and have entered our speech.
Artist 1: Take care of your dress again, and take care of your honor from a young age.
Artist 2: Benefit for a moment, good name forever.
Artist 3: The dress is black, but the conscience is white.
Artist 4: Work harder, you will be remembered longer.
Artist 5: According to merit and honor.
Artist 6: The eyes are the measure, the soul is the faith, and the conscience is the guarantee.
Artist 7: Live by your wits, and grow your honor through hard work.
Artist 8: Good fame lasts, but bad fame flies far.
Artist 9: Such is the honor.
Artist 10: Life is given for good deeds.
Presenter 1: The wise fables of Ivan Andreevich Krylov teach us to be truthful, kind, selfless, noble, conscientious, and fair. They urge us not to put ourselves above others, to do good deeds, useful deeds, and to love our Motherland.
The lights are dimmed on all parts of the stage except where an artist in the image of the fabulist Krylov sits on a chair. The actors in the images of fable heroes freeze.
SCENE 2. Fabulist(looking up from the sheet of paper, in thought):
How often have I heard this line of reasoning:
“For me, let them say what they want,
If only I were not to blame in my soul!”
No; you still need skill,
If you want to not destroy yourself in people
(addressing the audience, edifyingly) ...You need to know most of all,
That good glory is best embellished for you
And that you have it
A spring flower is more tender.
A piece of music plays. Come alive.
« The artists participating in the mise-en-scène come to life. They leave.
Dramatizing fables in classes.
A piece of music plays. Fanfare ends the concert.
All the artists take the stage.
Quizzes from the presenters while the jury sums up the results of the competition.
A piece of music plays. Fanfare for the presentation.
The jury's word to sum up the results of our competition.
Presenter 1: We want to say a big thank you to all the participants in our competition, class teachers, jury members and school administration for their help in organizing and conducting the competition!
Presenter 2: See you again!
A piece of music plays.
The guests leave.
SCENE 3 Dramatization of the fable "Demyanov's ear"
Small table and 2 chairs. Foka, unbelted, eats the rest of the soup from the plate and, puffing, falls back in his chair.
Demyan sits opposite, but does not eat himself. He gets up, refills Fokya’s soup and sits down again.
Demyan’s wife is wearing a sundress, a scarf, and holding a towel with which she wipes the plates. He condemns Demyan for his obsession, and even watches with some fear as Foka finishes his food.
Demyan:"Neighbor, my light!
Please eat." -
Foka:"Neighbor, I'm fed up." –
Demyan: " There is no need
Another plate; listen:
Ushitsa, by the way, is cooked to glory!" -
Foka:“I ate three plates.” –
Demyan:"And, of course, what about the scores:
If only there was a hunt,
Otherwise, for your health: eat to the dregs!
What an ear! Yes, how fat:
It was as if she were shimmering with amber.
Have fun, dear little friend!
Here's bream, giblets, here's a piece of sterlet!
Just one more spoon! Yes, bow down, wife!" -
Reader:
This is how neighbor Demyan treated his neighbor Foku
And he did not give him any rest or time;
And Foki had been dripping with sweat for a long time. (Foka wipes sweat)
However, he takes another plate:
Gathering with the last strength
(surprised and delighted) And - cleanses everything.
Demyan:“I love my friend!”
Demyan cried out. - But I don’t tolerate arrogant people.
Well, eat another plate, my dear!”
Here is my poor Foka,
No matter how much I loved the fish soup, it’s such a disaster,
Grabbing in his arms
Sash and hat,
Hurry home without memory -
Foka, jumping out from behind the table, jumps from the stage directly behind the scenes, and from there he cautiously makes his way to the proscenium and, puffing and shaking his finger, declares to the audience:
And from that time on, I never set foot near Demyan.
Krylov:
Writer, you are happy if you have a direct gift;
But if you don’t know how to be silent in time
And you don’t spare your neighbor’s ears,
Then know that your prose and poetry
Demyanova's fish soup will make everyone sicker.
Dramatization of the fable "Donkey and Nightingale"
(nightingale singing)
Donkey: The donkey saw the nightingale
You, they say, are a great master of singing.
I would really like
Myself judge, having heard your singing,
Nightingale
Clicked and whistled
Then gently he weakened
Everything was paying attention then
To Aurora's favorite and singer:
And the herds lay down.
And only sometimes
The singer has died.
Donkey:
Donkey, staring at the ground with his forehead:
I can listen to you without getting bored;
It's a pity that I don't know
You are with our rooster;
If only you had become more alert,
Krylov:
(All boys and girls)
Quiz for fans “What fable is the phrase from?”
Guess the name using a catchphrase or a phrase from a fable. Spectators who give the most correct answers receive prizes.
1. “...I was just about ready to have breakfast, but I became thoughtful..”
(A Crow and a fox)
2. “And the little chest just opened.”
3. “To be a musician, you need skill
And your ears are gentler...”
(Quartet)
4. “And I’ve known your wolfish nature for a long time.”
(Wolf in the kennel)
5. “A pig under an ancient oak tree...”
(Pig under the oak tree)
6. “Ay, Moska! I know she's strong
What barks at the Elephant!
(Elephant and Moska)
7. “And the cart is still there..”
(Swan, Cancer and Pike)
8. “Did you sing everything? This business:
So come and dance!”
(Dragonfly and Ant)
Dramatization of the fable "Dragonfly and Ant"
Next A shriveled Dragonfly, trembling from the cold, emerges from the depths and onto the front stage. In his hand is an umbrella in the shape of a large yellow maple leaf. Ant is wearing a work apron and holding a hammer.
Reader on the left: Jumping Dragonfly
The red summer sang;
I didn’t have time to look back,
How winter rolls into your eyes .
(The reader throws up a handful of finely chopped white pieces of paper, showering the Dragonfly with snow)
Dragonfly: The pure field has died;
There are no more bright days,
Like under each to me leaf
Both the table and the house were ready.
Reader: It's all gone: with the cold winter
Need, hunger is coming;
The dragonfly no longer sings; ( The Reader approaches the Dragonfly and sympathetically puts his hand on her shoulder.
Dragonfly(pushes him away and answers unexpectedly rudely):
And who cares?
Sing on a hungry stomach!
Reader(shows Ant's house) Angry melancholy,
She crawls towards the Ant:
Dragonfly(in a demanding, capricious tone):
“Don’t leave me, dear godfather!
Let me gather my strength
And only until spring days
Feed and warm! - Dragonfly climbs into Ant's house without waiting for permission
Ant(comes out from behind the curtain)“Gossip, this is strange to me:
Did you work during the summer?” -
Ant tells her.
Dragonfly “Was it before that, my dear?
In our soft ants -
Songs, playfulness every hour,
So it turned my head.”
Ant “Oh, so you...” -
DragonfliesA"I'm without a soul
I sang all summer long.” -
Ant “Have you been singing everything? This business:
So come and dance!”
An ant lightly pushes a dragonfly out of the house by its shoulders
Quiz for fans ""Puss in a poke"
In the teacher’s bag there are various items that are mentioned in one fable or another. Spectators are called to take out an object and guess who it belongs to and from which fable.
(Cheese, glasses, mirror, bass,).
Dramatization of the fable “Quartet”
Monkey runs onto the stage with a bundle of sheet music in his hands. She looks for a suitable clearing, counts the stumps - great! - and calls the others.
Reader: Naughty Monkey,
Yes, clubfooted Mishka
We decided to play a Quartet.
Monkey: We got sheet music, bass, viola, two violins
And they sat down on the meadow under the sticky trees, - ( The monkey seats everyone)
captivate light with his art.
(“And-and-and once!” - Monkey commanded, waving her twigs)
Reader: They hit the bows, they fight, but there’s no point.
Monkey: “Stop, brothers, stop! - Monkey shouts. -
Wait!
How should the music go? That's not how you sit.
You and the bass, Mishenka, sit opposite the viola,
I, the prima, will sit opposite the second;
Then the music will be different:
Our forest and mountains will dance!”
Reader: We settled down and began the Quartet;
He's still not getting along.
Donkey:“Wait, did I find the secret? -
The Donkey shouts, “We’ll probably get along,”
If we sit next to each other."
Reader: They obeyed the Donkey: they sat down decorously in a row;
And yet the Quartet is not going well.
Now they're getting even more intense than ever
Who should sit and how?
The Nightingale happened to fly to their noise.
Here everyone asks him to resolve their doubts.
Animals together:“Perhaps,” they say, “take patience for an hour,
To put our Quartet in order:
And we have notes, and we have instruments,
Just tell us how to sit down!” -
Nightingale:“To be a musician, you need skill
And your ears are gentler, -
The Nightingale answers them, -
And you, friends, no matter how you sit down;
You’re still not fit to be musicians.”
Quiz for fans “Continue...”
Complete the phrase, name the fable from which it is taken.
Did you sing everything? This is the thing... (Go ahead and dance).
And you, friends, why don’t you sit down... (You’re still not fit to be musicians).
Why, without fear of sin, does the Cuckoo praise the rooster... (Because he praises the cuckoo).
The Tit made glory... (But did not set the sea on fire).
The strong always have... (The powerless is to blame).
And the casket (simply opened).
I didn’t even notice the elephant.
Ah, Moska! Know she is strong (that she barks at the elephant).
And Vaska listens (and eats).
When there is no agreement among the comrades... (their business will not go well, and nothing will come out of it, only torment).
How many times have they told the world that flattery is vile, harmful, but only... (everything is not for the future, and a flatterer will always find a corner in the heart).
It’s a pity that I don’t know each other... (you are with our rooster).
Dramatization of the fable "Pig under the Oak"
Reader: Pig under the ancient oak
I ate my fill of acorns, to satiety;
Having eaten, I slept under it;
Then, having cleared her eyes, she stood up
And she began to undermine the roots of the Oak tree with her snout.
Crow: “After all, this harms the tree,”
Raven tells her from Dubu, -
If you expose the roots, it may dry out.”
Pig:“Let it dry,” says the Pig, “
It doesn't bother me at all,
I see little use in it;
Even if he were gone forever, I wouldn’t regret it at all;
If only there were acorns: they make me fat.” -
Oak: “Ungrateful! - Oak said to her here, -
Whenever you could lift your snout up,
You should have seen
Why are these acorns growing on me?
Reader:
The ignoramus is also blinded
Scolds science and learning
And all the scientific works,
Dramatization of the fable "A Crow and a fox"
Krylov:
How many times have they told the world,
That flattery is vile and harmful; but everything is not for the future,
And a flatterer will always find a corner in the heart.
The reader stands on the left. Crow holding cheese in his mouth (maybe processed cheese in a shiny wrapper)
Somewhere God sent a piece of cheese to a crow;
Raven perched on the spruce tree,
(The crow unwraps the cheese, sniffs it, closes his eyes with pleasure and half-stuffs the cheese into his mouth)
I was just about ready to have breakfast,
Yes, I thought about it, but I held the cheese in my mouth.
The Fox appears on the left. On his hand is a shopping bag. Having reached the middle of the stage, she stops, opens her bag, takes out a chicken egg, admires it, is about to break it, and suddenly freezes
To that misfortune, the Fox ran close by;
Suddenly the cheese spirit stopped the Fox:
The fox sees the cheese -
The fox was captivated by the cheese,
He moves his nose and notices Crow and cheese. He quickly puts the egg in the bag, preens himself, and heads towards the tree. A crow peeks out from behind a tree, she is on guard.
The cheat approaches the tree on tiptoe;
He twirls his tail and doesn’t take his eyes off Crow.
And he says so sweetly, barely breathing:
“My dear, how beautiful!
What a neck, what eyes!
Telling fairy tales, really!
What feathers!
What a sock!
Sing, little light, don’t be ashamed!
(conducts And one, and two, and three) What if, sister,
With such beauty, you are a master at singing,
After all, you would be our king bird!”
Reader: Veshhunin's head was spinning with praise,
The breath stole from my throat with joy, -
And Lisitsyn’s friendly words
The crow cawed at the top of his lungs:
The cheese fell out - such was the trick with it.
(The Fox picks up the cheese, puts it in her bag and, blowing a kiss to Crow, runs away)
Quiz for fans “Let's recognize the hero by his cue!” From what fable?
1. - Vaska the cat is a rogue! Vaska the cat is a thief!
And Vaska, not just to the cookhouse,
There is no need to let him into the yard,
Like a greedy wolf in a sheepfold.
(Cook, "The Cat and the Cook")
2. - Sing, little light, don’t be ashamed! What if, sister,
With such beauty, you are a master at singing...
(Fox, "The Crow and the Fox")
3. - They lied to me about the glasses;
But there is no use for hair in them.
(The Monkey, "The Monkey and the Glasses")
4. - Gossip, this is strange to me:
Did you work during the summer?
(Ant, "The Dragonfly and the Ant")
5. - Listen, buddy!
You, they say, are a great master of singing.
(Donkey, "Donkey and Nightingale")
6. - This is what gives me spirit,
What am I, without a fight at all,
I can get into big bullies.
(Moska, “Elephant and Moska”)
7. - Wait, I found a secret!
We'll probably get along,
Let's sit next to each other!
(Donkey, “Quartet”)
8. - I am your old matchmaker and godfather.
(Wolf, "Wolf in the Kennel")
9. - Let it dry. It doesn't bother me at all.
(Pig, "Pig under the Oak")
10. - Vaska the cat is a cheat! Vaska the cat is a thief!
And Vaska, not just to the cookhouse,
There is no need to let him into the yard,
Like a greedy wolf in a sheepfold.
(Cook, "The Cat and the Cook")
Dramatization of the fable “The Wolf and the Lamb”
The reader is on the front right. The lamb is squatting, facing the left wing, “drinking”, scooping up water with his palm. The howl of the Wolf is heard, then he himself comes out from the right. It does not go in a straight line, but turns right and left. He stumbles upon the reader, who fearfully shrinks away from him. (Lamb - bib, hat with pompom, Wolf - mittens with claws)
Krylov:
The powerful are always to blame for the powerless:
We hear countless examples of this in History,
But we don’t write History;
But this is how they talk about it in Fables.
Reader: A lamb went to a stream to drink on a hot day;
And something must happen,
That a hungry Wolf was prowling around those places.
He sees a lamb and strives for the prey;
But, to give the matter at least a legal look and feel,
Wolf:“How dare you, insolent, with an unclean snout
(The lamb turns around and jumps up)
Here's a clean drink
With sand and silt?
For such insolence
I'll rip your head off." -
Lamb(shaking with fear, even stuttering):
« When the brightest Wolf allows,
I dare say that down the stream
From His Lordship
I drink a hundred steps;
And he deigns to be angry in vain:
There’s no way I can make him drink worse.” -
Wolf(feigns insulted, he is nobly indignant):
“That's why I'm lying!
Waste! Such insolence has never been heard of in the world!
Yes, I remember that you were last summer
Here he was somehow rude to me:
I haven’t forgotten this, buddy!” -
Lamb(with dignity, because he is right):
“For mercy, I’m not even a year old yet,” -
The lamb speaks. "So it was your brother." -
"I have no brothers." - “So this is godfather or matchmaker
And, in a word, someone from your own family.
You yourself, your dogs and your shepherds,
You all want me harm
And if you can, then you always harm me,
But I will clear out their sins with you.” -
Lamb(doomed) “Oh, what is my fault?” -
Wolf(cynically, rudely, frankly, embittered):
“Be quiet! I'm tired of listening
It’s time for me to sort through your faults, puppy!
It’s your fault that I want to eat.” -
He said and dragged the Lamb into the dark forest.
Dramatization of the fable "The Cuckoo and the Rooster"
The Reader and Sparrow are one and the same person. “Kuk-ku, kuk-ku!” - comes from the left. The reader listens and announces: “Cuckoo...” “Cuckoo!” - comes from the right. "Rooster!" - the reader announces. The Rooster appears. He is busy with his work - raking the earth with his foot and not looking around. They will say pleasant words to your face, and then turn to the audience, wink at them, and quietly mimic each other. They turn again - and again enthusiastic smiles and words. Both sing interspersed with the text, taking beautiful poses, sometimes wringing their hands, sometimes pressing them to their hearts. The Rooster pulls out a bright feather from his tail and presents it to the Cuckoo, and she pulls out a flower and says, “How, dear Rooster, you sing loudly, it’s important!” - rings it in the Rooster's buttonhole.
Cuckoo(mockingly):“How, dear Cockerel, you sing loudly, it’s important!” -
Rooster:“And you, Cuckoo, are my light,
How do you pull smoothly and slowly:
We don’t have such a singer in the whole forest!” -
Cuckoo:“I’m ready to listen to you, my kumanek, forever.” -
“And you, beauty, I promise,
As soon as you shut up, I can’t wait,
So that you can start again...
And pure, and gentle, and tall!..
Rooster: Yes, that’s how you come from: you’re not big,
And the songs are like your nightingale!” -
Cuckoo:“Thank you, godfather; but, according to my conscience,
You sing better than the bird of paradise.
I refer to everyone in this.”
Here Sparrow, happened to say to them: “Friends!
Even though you become hoarse, praising each other, -
All your music is bad!..”
Krylov:
Why, without fear of sin,
Does the Cuckoo praise the Rooster?
Because he praises the Cuckoo.
2) Did you sing everything? This business:
So come and dance!
You're not fit to be a musician
Scolds science and learning
And all the scientific works,
Without feeling that he is eating their fruits
6) Why, without fear of sin,
Does the Cuckoo praise the Rooster?
Because he praises the Cuckoo
Fabulist: Yes, you still need skill,
If you want to not destroy yourself in people
... Every step
You should think about yours like this,
So that there is nothing to slander or find fault with.
All artists(in chorus, addressing the audience):
Let us remember: we “must think about every step we take in this way, /
So that there is nothing to slander or find fault with!”
A piece of music plays.
Jury evaluation sheet
(criteria-based assessment)
The competition will be held in two age categories:
Thus, based on the results of the competition, it will be determined three prizes among primary classes and three prize money– among 5-10th grades.
Nominations are also noted “For Best Actress”, “For Best Actor” And "Best Fable" based on fan voting.
| Class | Requirements for fable performers | Total points |
|||
| Expressive reading of a fable | Performing skills (emotional and figurative expressiveness, intonation richness). | Selection of costumes and attributes corresponding to the content of the fable. | |||
| 1 "B" | |||||
| 4 "A" | |||||
| 2-4 "B" | |||||
| Maksim. point | |||||
| 5 "A" | |||||
| 5 B" | |||||
| 7 "B" | |||||
| 8 "B" | |||||
| 9 "A" | |||||
| 9 "B" | |||||
| 10 "A" | |||||
| Maksim. point | |||||
Fable dramatization competition “Visiting I. A. Krylov”
Progress of the event
SCENE 1. A piece of music plays. The curtain opens. The entire stage is illuminated. All the performers are dressed as their characters on their respective parts of the stage. The artist, in the guise of the fabulist Krylov, sits on a chair and “writes.” The music is slightly muffled.
Presenter 1: How intelligently the world works! Each person chooses for himself: what he should be - good or evil, truthful or deceitful, selfless or cowardly. Each of us decides for himself which path to follow, what actions to take, what deeds to do - good or bad, useful or harmful, good or evil.
Presenter 2: But it’s worth recognizing: we are all responsible for each other and for everything that happens around us. We are all responsible... And not only for ourselves, but also for everyone with whom we are connected, who lives among us... Popular wisdom says:
Artist 1: Take care of your dress again, and take care of your honor from a young age.
Artist 2: Benefit for a moment, good name forever.
Artist 3: The dress is black, but the conscience is white.
Artist 4: Work harder, you will be remembered longer.
Artist 5: According to merit and honor.
Artist 6: The eyes are the measure, the soul is the faith, and the conscience is the guarantee.
Artist 7: Live by your wits, and grow your honor through hard work.
Artist 8: Good fame lasts, but bad fame flies far.
Artist 9: Such is the honor.
Artist 10: Life is given for good deeds.
Artist 11: Good fame is more valuable than wealth.
Presenter 1: The wise fables of Ivan Andreevich Krylov teach us to be truthful, kind, selfless, noble, conscientious, and fair. They urge us not to put ourselves above others, to do good deeds, useful deeds, and to love our Motherland.
Presenter 2: Let's turn the pages of the fables and draw conclusions for ourselves for life...
A piece of music plays. The lights are dimmed on all parts of the stage, except for the one where the artist in the image of the fabulist Krylov sits on a chair. The actors in the images of fable heroes freeze.
SCENE 2. Fabulist(looking up from the sheet of paper, in thought):
How often have I heard this line of reasoning:
“For me, let them say what they want,
If only I were not to blame in my soul!”
No; you still need skill,
If you want to not destroy yourself in people
(addressing the audience, edifyingly) ...You need to know most of all,
That good glory is best embellished for you
And that you have it
A spring flower is more tender.
How often is your soul and conscience clear,
But an extra glance, a word, one carelessness
It gives you the opportunity to slander you -
And your glory is not what it used to be.
Shouldn't I look? Can you really not smile?
That's not what I'm saying; but only every step
You should think about yours like this,
So that there is nothing to slander or find fault with.
A piece of music plays.
« The artists participating in the mise-en-scène come to life. The music is muted.
DRAGING FABLES BY CLASS.
All the artists take the stage:
1) God save us from such judges.
2) Did you sing everything? This business:
So come and dance!
3) And you, friends, no matter how you sit down;
You're not fit to be a musician
4) The ignorant is also blinded
Scolds science and learning
And all the scientific works,
Without feeling that he is eating their fruits
5) The powerful are always to blame for the powerless
6) Why, without fear of sin,
Does the Cuckoo praise the Rooster?
Because he praises the Cuckoo
Fabulist: Yes, you still need skill,
If you want to not destroy yourself in people
... Every step
You should think about yours like this,
So that there is nothing to slander or find fault with.
All artists(in chorus, addressing the audience):
Let us remember: we “must think about every step we take in this way, /
So that there is nothing to slander or find fault with!”
A piece of music plays.
The jury's word to sum up the results of the competition.
Dramatization of the fable "Donkey and Nightingale"
(nightingale singing)
Donkey: The donkey saw the nightingale
And he says to him: “Listen, buddy!
You, they say, are a great master of singing.
I would really like
Myself judge, having heard your singing,
How great is your skill?
(During the nightingale’s singing, three girls come onto the stage, hugging each other, and on the other, two boys: they also came to listen to the nightingale’s singing)
Nightingale (conducts, looks around):
Here Nightingale began to show his art:
Clicked and whistled
On a thousand frets, pulled, shimmered;
Then gently he weakened
And the languid sound of the pipe echoed in the distance,
Then it suddenly scattered in small fractions throughout the grove.
Everything was paying attention then
To Aurora's favorite and singer:
The winds have died down, the choirs of birds have fallen silent,
And the herds lay down.
Breathing a little, the shepherd admired him
And only sometimes
Listening to the Nightingale, he smiled at the shepherdess.
The singer has died.
Donkey(very important, slowly, meaningfully):
Donkey, staring at the ground with his forehead:
“Pretty much,” he says, “it’s not false to say,
I can listen to you without getting bored;
It's a pity that I don't know
You are with our rooster;
If only you had become more alert,
If only I could learn a little from him.”
Krylov:
Hearing this judgment, my poor Nightingale
He took off and flew to distant fields.
(All boys and girls)
God save us from such judges.
Scenario
literary holiday
dedicated
245th birthday anniversary
Ivan Andreevich Krylov
Teacher: Agafonova L.A.
2013-2014 academic year
The purpose of the event: to expand students’ knowledge about the life and work of I.A. Krylov.
Objectives: to introduce the biography and works of the great fabulist; generate reader interest; enrich students' vocabulary; to develop in children communication skills, a culture of behavior and a sense of mutual assistance.
Preparatory stage:
Organization of an exhibition of books by I.A. Krylov in the school library.
Work on the educational project “We draw fables by I.A. Krylov.”
Holiday scenario
“The poet and the sage merged into one” (N.V. Gogol), “His fables will survive centuries” (K.N. Batyushkov).
1. Opening speech by the teacher: - There is a monument in the Summer Garden in St. Petersburg. There are always a lot of children around the monument. They look with interest at the figure of a man sitting in a chair. He has a kind, smart face. A little below the chair on the monument are various animals. There is a fox, a wolf, and a monkey... This is a monument to Ivan Andreevich Krylov, the great Russian fabulist. And animals are the heroes of his works.
Let us recall the basic facts of Krylov’s biography.
1 presenter. Ivan Andreevich Krylov was born on February 13, 1769 in Moscow into the family of a poor army officer. His father was constantly busy, and little Vanya was raised by his mother, a simple woman, without any education, but smart and kind. After the death of the father, the family found itself in dire need. From the age of ten the boy is forced to work. He has good handwriting, and they take him to the office to copy papers.
2 presenter. Eighteen-year-old Krylov writes his first fables. Later, satirical poems and comedies appeared. The government warns Krylov that he will face severe punishment if he does not stop writing. But I.A. Krylov does not give up literary work. Now he writes only fables. The heroes of fables are animals, things, plants. But under their guise, the same people are depicted: good and evil, smart and stupid, hardworking and lazy, those with power and those without rights.
1 presenter . In his fables, Krylov accuses landowners living at the expense of serfs, an unfair court that decides all cases in favor of the rich. I.A. Krylov lived to be 75 years old. Life turned out in such a way that he didn’t even have to go to school. But his desire for education was so strong that he self-taught himself in languages, mathematics and became a highly educated person for his time.
2 presenter. February 13 marked the 245th anniversary of the birth of Ivan Andreevich Krylov. And his name is still close and dear to every Russian person. Many fabulists appeared in subsequent times, but still grandfather Krylov still reigns supreme over the fable world.
Teacher: - And now it’s time to show how you know I.A. Krylov’s fables. Two teams will compete and they will be asked questions one by one. The jury gives one point for each correct answer. The team with the most points will win. And the best readers will take part in a reading competition. Good luck!
Competitive reading of a fable _________________________________________________ 9th grade
I. Finish the quote from Krylov’s fable. What is it called?
(extra point for the correct name)
1. The cheese fell out - /there was a trick with it/ “The Crow and the Fox.”
2. For the strong, / the powerless is always to blame / “The Wolf and the Lamb.”
3. When there is no agreement among the comrades, / their business will not go well / “Swan, Cancer and Pike.”
4. Did you sing everything? This is the case - /So go and dance/ “The Dragonfly and the Ant.”
5. Ay, Moska! She knows she is strong - /What barks at the elephant/ “Elephant and Pug.”
6. And you, friends, no matter how you sit down - /Everyone is not fit to be a musician/ “Quartet”
Competitive reading of a fable _________________________________________________ 1st grade
II. Remember the missing word in the title of the fable:
"Frog and... (Ox)."
“The wolf is at ... (kennel).”
"Cat and... (cook)."
"Dragonfly and... (Ant)."
“Pike and...(Cat).”
"Donkey and... (Nightingale)."
"Wolf and... (Lamb)."
"Mirror and... (Monkey)."
Competitive reading of a fable _________________________________________________ 2nd grade
III. "Bag of lost and found items."
Determine who owns the items. Extra points for the team that can name the fable.
Bone ("Wolf and Crane")
Sheet music (“Quartet”)
Mirror ("Mirror and Monkey")
Glasses ("The Monkey and the Glasses")
Casket (“Casket”)
Cheese (“Crow and Fox”)
Literary pause: teachers reading fables by heart.
Competitive reading of a fable _________________________________________________ 3rd grade
V. Find out the fable from the illustration (on the presentation slides)
Competitive reading of a fable _________________________________________________ 4th grade
VI. "Magic Box"
Have you ever heard words from a fable in ordinary speech, without citing the source?
What are these words called? /Winged/.
(A “magic box” is offered to the students’ attention. It contains cards with “winged” words from Krylov’s fables. Students take turns taking out a card, reading the excerpt and explaining the meaning of the expression.)
1. And Vaska listens and eats. "The Cat and the Cook"
/Used in the meaning: one speaks, and the other does not pay any attention to him/.
2. And the casket simply opened. "Casket."
3. It is always the powerless one who is to blame. "Wolf and Lamb"
/Used when undeserved accusations are made by elders who are younger in age or position/.
4. Stigma covered in fluff. "The Fox and the Marmot."
/Used in the meaning: to be involved in something criminal, unseemly/.
5. God, save us from such judges. "Donkey and Nightingale"
/This is what they say when a person undertakes to judge something that he himself does not understand/.
6. Trouble is, if the shoemaker starts baking pies,
And the boots are sewn by the cake maker “Pike and Cat”
/Moral: everyone should mind their own business/.
Competitive reading of a fable _________________________________________________ 5th grade
VII. "Guess the Character"
“Don’t leave me, dear godfather!
Let me gather my strength..."
(To the Ant. “Dragonfly and Ant”)
2. “Listen, buddy!
You, they say, are a great master of singing!
I would really like to judge for myself,
Hearing your singing,
How great is your skill?
(To the Nightingale. “The Donkey and the Nightingale”)
3. “Stop, brothers, stop! - Monkey shouts.
Wait! How should the music go?
After all, you’re not sitting like that..."
(To the Donkey, the Goat, the club-footed Bear. “Quartet”)
What kind of face is that there?
What antics and jumps she has!
I would hang myself from boredom
If only she was even a little like her.(Monkey, "Mirror and Monkey")
I can listen to you without getting bored;
It's a pity that I don't know you
You are with our Rooster:
If only you had become more alert,
If only I could learn a little from him.(Donkey, "Donkey and Nightingale")
When the brightest Wolf allows,
I dare say that down the stream
From the Lordship of his steps I drink a hundred...(Lamb, "Wolf and Lamb")
Friends! What's all this fuss about?
I, your old matchmaker and godfather,
I came to make peace with you...(Wolf, "Wolf in the Kennel")
It doesn’t bother me at all;
I see little use in it;
Even if he doesn’t exist for a century, I won’t regret it at all,
If only there were acorns: they make me fat.(Pig, "Pig under the Oak")
Competitive reading of a fable _________________________________________________ 6th grade
VIII. "Remember the name of the fable"
/The teacher reads famous lines, you must name which fables they are taken from/
“And I will say: for me it’s better to drink, but understand the matter.” ("Musicians")
“It’s your fault that I want to eat.” ("Wolf and Lamb")
“You are gray, and I, friend, am gray, and I’ve known your wolf nature for a long time...” (“Wolf in the Kennel”)
""Did you sing everything? This is the thing: come and dance!” ("Dragonfly and Ant")
“Ay, Moska! Know that she is strong, that she barks at the Elephant!” ("Elephant and Moska")
“And you, friends, no matter how you sit down, you are still not fit to be musicians.” ("Quartet")
Competitive reading of a fable _________________________________________________ 7th grade
IX . "Names"
Students are offered mixed up cards with the names of the heroes of I. Krylov’s fables. Task: make up pairs that sound in the names of fables (for example, Dragonfly - Ant), stick the pairs on a sheet of paper.
ELEPHANT DRAGONFLY MIRROR
PIG ANT MONKEY
DONKEY CROW CUCKOO
MAN FOX COCK
Competitive reading of a fable _________________________________________________ 8th grade
Scoring. Announcement of the winners.
Dramatization by Olesya Emelyanova
Duration of the performance: 4 minutes; number of actors: from 1 to 3.
Characters:
Crow
Fox
Narrator
On the stage on the left is a spruce, on the right is a bush.
Narrator
How many times have they told the world,
That flattery is vile and harmful; but everything is not for the future,
And a flatterer will always find a corner in the heart.
God once sent a piece of cheese to the crow.
A Crow flies out from behind a bush with a huge piece of cheese in its beak and lands on the top of the tree.
Narrator
Raven perched on the spruce tree,
I was just about ready to have breakfast,
Then, unfortunately, the Fox ran nearby.
Narrator
Suddenly the cheese spirit stopped the Fox:
He twirls his tail and doesn’t take his eyes off Crow.
And he speaks so sweetly, barely breathing.
My dear, oh, how beautiful you are!
What feathers! What a sock!
And, truly, there must be an angelic voice!
Sing, little light, don’t be ashamed! What if, sister,
With such beauty, you are a master at singing, -
After all, you would be our king bird!
Narrator
And Lisitsyn’s friendly words
Narrator
The crow is complaining.
Oh, if only I knew
Her cunning, I wouldn’t open my mouth.
Neither false speech nor sweet poison flattery
From now on, nothing will harm me.
I despise them! I know the value of them!
I will certainly distinguish it from the truth!
Oh life! You taught me a lesson.
The crow flies away.
Narrator
But the lesson was of no use to Vorona.
For her temptation, for the edification of others
The Lord sent her a test again -
I gave the cheese twice as much.
The Crow appears with a huge piece of cheese and perches heavily on the spruce.
Narrator
This very hour
The crow flew up to the tree with him
Yes, I became thoughtful, but I held the cheese in my mouth.
Again the Fox ran close by.
A Fox appears from behind a bush and begins to sniff.
Narrator
And again the cheese spirit stopped the Fox:
The fox sees the cheese, the fox is captivated by the cheese.
The cheat approaches the tree on tiptoe;
He twirls his tail and doesn’t take his eyes off Crow.
The crow is waiting.
From fluff to feather,
Darling, you are better than yesterday!
What a neck, what eyes!
Tell it, really, in a fairy tale!
What claws! What a sock!
What a wonder this voice is!
Sing, little light, don’t be ashamed! You won't, sister,
You're angry at me for the past.
Having heard you, the nightingale will be embarrassed.
Sing for me! After all, you are a bird to all birds!
Narrator
Veshhunin's head was spinning with praise,
The breath stole from my throat with joy, -
And Lisitsyn’s words are kind
The crow croaked at the top of its lungs.
The cheese falls. The fox grabs him and runs away.
Narrator
The cheese fell out, and there was a trick with it.
History repeated itself verbatim
And morality hasn't changed at all.
I will remind you of it innocently:
Alas, flattery is ineradicable,
As long as crows love to listen to foxes,
And the foxes have crow cheese.
Page 3 of 20
Krylov's fables on the school stage
I. A. Krylov
“I love, where there is an opportunity, to pinch vices!”
Dramatizations of fables by A. I. Rozanova
This is the name of the performance... The name is loudly announced by the leading girl (or boy) who begins the performance. She goes on stage with a book in her hands and says: “I love, where there is an opportunity, to pinch the vices!” These words belong to Krylov and mean that he is always ready, always happy to expose and ridicule human vices (it is known that under the guise of animals, birds, plants, animals, Krylov brought out people in his fables). The girl reads the inscription on the cover: “Krylov’s Fables.” He steps aside, sits on the edge of the stage, leafs through the book, lingering on the titles of some fables, reading them aloud, but as if for himself: “Swan, Pike and Cancer”, “Demyan’s Ear”, “Two Pigeons”, “A Man and a Snake” ", "The Crow and the Fox"... This last fable interests her more than others. She smiles and decides to read the fable in its entirety, stands up, repeats loudly again, addressing the audience: “The Crow and the Fox,” and the staging of this fable begins. The Crow is already sitting on the tree, and behind the scenes the Fox is waiting to come out.
When this fable ends, the second begins, then the third, and so on until the end. The readers change - the guys reading the text from the author - but all the fables go one after another without any interruption. This, in fact, is what distinguishes this performance from an ordinary concert consisting of separate numbers. And one more thing: in this collection we are giving you a description of only ten fables, but if you want to put more (and we strongly advise you to do so!), then do this: let you have several fables in a row where the Wolf participates. This is like a series of episodes from one play from the life of the Wolf. Each episode reveals new qualities of the Wolf - his greed, deceit, ferocity, ingratitude, hypocrisy (“The Wolf and the Lamb”, “The Wolf and the Crane”, “The Wolf in the Kennel”). Also group together fables about Monkeys (“Mirror and Monkey”, “Monkey and Glasses”, “Quartet”, “Monkeys”), about the Fox, etc.
Such groups of fables with the same characters will help the performance to be integral and unified. Of course, these “groups” can be interspersed with “single” fables.
It is good that fables with a small number of characters - and these are the majority - alternate with fables where there are or where crowd scenes can be introduced.
Try to use the scene in a varied and complete way. The unity of the performance largely depends on the design, on the scenery in which the action takes place. But there are many fables, and their action takes place in different places. Make one set, the same for all the fables, so that the entire performance can be played in it, and immediately install on the stage everything that is needed for each fable. Do not clutter the stage with unnecessary things, select only what is necessary. The forest, which is the setting for many fables, requires trees. Two trees are enough. These two trees are not of any specific species, but trees “in general,” fairy-tale, fable trees, such that our Russian cuckoo can crow on them, and chestnuts can grow, and monkeys can sway. Of course, such universal trees do not occur in nature, but even animals in real life do not speak humanly.
Make the trees so that you can climb them; for example, from stepladders with tied trunks and crowns. The performers climb up the steps into the trees from behind and are visible from above: waist-deep when necessary, neck-deep when necessary. Place two or three stumps near the trees and lay a trunk. Between the trees on the right and left, there is free space in the middle. It is good that this is not a flat floor of the stage, but a raised small platform, like a stage, made from stands with steps (on which a choir usually performs) or simply from shifted stable tables. These are all playgrounds: a tree on the left, a tree on the right, a fallen trunk, a proscenium, a stage - all these are places where, in our “land of fables,” here and there the action of the next fable occurs. Of course, some small details can be introduced and then removed as needed, as the action progresses. But basically everything has to be prepared on stage in advance.
The design of the performance also includes the costumes of the performers. Sometimes the guys play animals in masks. This is not good: masks interfere with speaking, muffle the voice, cover the face and instead of living facial expressions, living eyes, only a motionless mask is visible. It is better to do without masks, and look for the most characteristic details for each character. For the Wolf, for example, the most characteristic thing is paws with long claws, and not ears or, say, a tail. But the tail is important to the Fox - she covers her tracks with it, flaunts it, and fans herself. It is enough for a donkey to have long ears, for a goat to have a beard. If you want, make masks for animals and birds in the form of caps that leave their faces open.
All these tails, ears, paws, beaks are made from the simplest material - scraps of cardboard, old stockings and gloves, colored paper, wire, rope, washcloth. Fur and feathers come out very well from thinly cut strips of paper.
But how will the performers generally be dressed? It’s very good if all the guys - both boys and girls - wear the same black or blue training suits: they’re comfortable for running, jumping, climbing trees, falling on the floor if necessary. The first girl presenter is in a pioneer uniform. In the future, the reading guys can remain in T-shirts, only by tying a pioneer tie around their necks. Some guys will have to put on and take off their tie several times. There is no way to forget about this. Think what will happen if a boy who has just been a reader suddenly comes out in the next fable, say, to play one of the Geese or the Goat in a pioneer tie!
Readers should not “report” the text indifferently: they are not outside observers, but ardent “fans” and do not hide their sympathies. It should be clear which of the characters they sympathize with and which, say, they condemn. Sometimes they even interfere in the action, enter into communication with the characters... But you will read about this in the descriptions of the fables.
When the text is well memorized, proceed to rehearsals on stage (or on any platform that replaces the stage). Look for characteristic movements for each animal you are playing. Observe the gait and habits of pets and birds. A goose walks differently than a rooster. A cat jumps differently than a dog. If possible, visit the zoo. Look at the pictures and illustrations for books about the life of animals, birds, and animals. You can draw illustrations for the fables yourself. Even someone who does not know how to draw well can draw a plan of mise-en-scène - this is the name for the location of the characters on stage.
Try to arrange the performers so that everyone can be clearly seen, so that no one obscures each other, otherwise the audience will stand up to get a better look.
The reader must coordinate the text with the actions of the characters. Sometimes he may slow down his narration in order to allow the performer to slowly complete all the necessary actions. The sage must work hard to open the box before giving up further attempts. Let the reader be silent.
Sometimes the reader makes a similar pause immediately after the announcement of the next fable. For example, in the fable “The Cat and the Cook,” you need to pause so that Vaska the Cat can do the whole pantomime with the little chicken.
Music greatly embellishes and enriches the performance. In some fables, such as “Quartet”, “Donkey and Nightingale”, it is simply impossible to do without music, as with the appearance of the Dragonfly, the appearance of the Geese or in “The Mirror and the Monkey”. Music not only creates the right mood, but also organizes the performance. All transitions from one fable to another are made to the music. The last word of the fable is spoken, and the performers run away from the stage to the music, and they are replaced by a new reader and the performers of the next fable; If necessary, individual design details are added and removed. It is best to take the music of composers of the time when Krylov lived and wrote: polkas by Glinka, Balakirev, of course, “The Nightingale” by Alyabyev, Russian folk songs. This music is best played on the piano. If there is no piano, you can provide musical accompaniment on a button accordion, accordion, some stringed folk instrument, or create an ensemble of several instruments.
Individual fables can be shown at any concert, at any holiday - at school, and at camp. By the way, in the camp you can stage fables right in the forest, where everything - trees, bushes, hillocks - everything will be living scenery. Find a suitable lawn for spectators to sit on. If desired, you can stretch a curtain between two trees, but you can do without it. Imagine how cute it will be: Crow, Cuckoo, Nightingale sitting on real trees and talking from above; Wolf, Fox, Donkey come out from behind real bushes; The Monkey, the Donkey, the Goat and the club-footed Bear start their quartet on a real meadow - even if not under the sticky trees, but under the birches and fir trees - it doesn’t matter! The lamb drinks water from a real stream! Of course, such a performance must be carefully prepared: find in advance a suitable lawn, comfortable trees that are safe to climb, and from where the performers will be clearly visible and audible.
And some fables can also be played in puppet performance: the reader stands in front of a screen over which a puppet performance is taking place.
FROM THE ARTIST
For a generalized stage solution when designing the play “Krylov’s Fables,” you can use the image of a barrel organ, an ancient folk musical instrument.
In the old days, traveling artists walked around fairs and city courtyards with a barrel organ and gave small performances.
Often trained animals also took part in such performances: dogs, bears, etc.
Organ organs were always brightly colored and covered with popular prints. As a rule, the organ grinder took some small animal with him to work: a monkey, a squirrel, a marmot. Accompanied by jokes and songs from the organ grinder, they pulled out tickets “for good luck” from a special box.
Build a large box out of plywood, paint it, attach a handle - and the organ is ready.
It will allow your director to come up with many different placements of actors during the action, enliven the mise-en-scène, make it possible to create a visually fun performance and decorate it.
A Crow and a fox
How many times have they told the world,
That flattery is vile and harmful; but everything is not for the future,
And a flatterer will always find a corner in the heart.
Somewhere God sent a piece of cheese to a crow;
Raven perched on the spruce tree,
I was just about ready to have breakfast,
Yes, I thought about it, but I held the cheese in my mouth.
To that misfortune, the Fox ran quickly;
Suddenly the cheese spirit stopped the Fox:
The fox sees the cheese, - The fox is captivated by the cheese.
The cheat approaches the tree on tiptoe;
He twirls his tail and doesn’t take his eyes off Crow.
And he says so sweetly, barely breathing:
“My dear, how beautiful!
What a neck, what eyes!
Telling fairy tales, really!
What feathers! What a sock!
And, truly, there must be an angelic voice!
Sing, little light, don’t be ashamed! What if, sister,
With such beauty, you are a master at singing,
After all, you would be our king bird!”
Veshhunin's head was spinning with praise,
The breath stole from my throat with joy,—
And Lisitsina’s friendly words
The crow croaked at the top of her throat:
The cheese fell out - such was the trick with it.
The reader stands on the left. A crow sits on a tree on the right, visible from the waist up. She doesn't have cheese in her mouth yet. Obviously, she just stole it from somewhere - crows love shiny things - and in her wing-hands she has processed cheese in a silver wrapper (it could be just a piece of cheese). The crow itself has not yet figured out what it is. She unwraps the cheese, closes her eyes with pleasure and, sitting comfortably, half stuffs the cheese into her mouth. The Fox appears on the left. She has a bag on her hand. Having reached the middle of the stage, she stops, opens her bag, takes out a chicken egg, admires it, is about to break it on a tree stump to drink it, and suddenly freezes. He moves his nose and notices Crow and cheese. He quickly puts the egg in the bag, preens himself, and heads to the tree: “My dear, how pretty!..” The Fox pretends that she just noticed the Crow that very minute. And the Crow, although stupid, saw the Fox and realized that she had to be on her guard - she dived back behind the tree, and only looked out from there, watching the Fox. The Fox, in order to lull the Crow’s suspicions, moved back, sat down on a stump and continued to speak, as if to herself, as if not for the Crow: “What a neck, what eyes!” She doesn't even look towards the tree. And the Crow listens, leans out more and more from behind the tree, looks at it, admires its feathers, stretching out one hand-wing, then the other... The Fox gets up and sighs: it’s a pity, they say, to leave such a beauty, well, nothing can be done , business, business!.. - and hurriedly walks, heading to the right wing. Again, as if by accident, he notices Vorona and directly squeals with delight: “What a sock!” And, as if struck by a sudden thought, she prays: “Sing, little light!” She raised her hands, conducted and counted impatiently: “And one, and two, and three...”
Sometimes the Crow holding the cheese in its mouth does not make a loud caw. It’s possible that at this moment one of the guys croaked behind the scenes. The Fox picks up the cheese, puts it in her bag and, blowing a kiss to Crow, runs away. The reader shakes his head: “Well, well!..”
The Wolf and the Lamb
The powerful are always to blame for the powerless:
We hear countless examples of this in History.
But we don't write history,
But this is what they say in fables.
On a hot day, a lamb went to a stream to drink;
And something must happen,
That a hungry Wolf was prowling around those places.
He sees a lamb and strives for the prey;
But, to give the matter at least a legal look and feel,
Shouts: “How dare you, insolent, with an unclean snout
Here's a clean drink
My
With sand and silt?
For such insolence
I'll rip your head off,"
“When the brightest Wolf allows,
I dare say that down the stream
From the lordship of his steps I drink a hundred;
And he deigns to be angry in vain:
There’s no way I can make him drink worse.”—
“That's why I'm lying!
Waste! Such insolence has never been heard of in the world!
Yes, I remember that you were still last summer
Somehow he was rude to me here;
I haven’t forgotten this, buddy!” —
“For mercy, I’m not even a year old yet,”—
The lamb speaks. “So it was your brother.”—
“I have no brothers.”— “So this is godfather or matchmaker,
And, in a word, someone from your own family.
You yourself, your dogs and your shepherds,
You all want me harm
And if you can, then you always harm me;
But I will clear up their sins with you.”—
“Oh, what is my fault?” - “Be quiet! I'm tired of listening.
It’s time for me to sort through your faults, puppy!
It’s your fault that I want to eat.”
He said - and dragged the Lamb into the dark forest.
The reader stands in the foreground on the right. The lamb, squatting on the edge of the stage, facing the left wing, “drinks” from the stream, scooping up water with his palm. The wolf does not appear immediately. First you can hear his howl, then he himself comes out from the right. He does not walk in a straight line, but turns first to the right, then to the left (“the Wolf prowled”). He stumbles upon the reader, who fearfully shys away from him and presses himself against the wall. The Wolf climbs onto the stage and notices the Lamb. The Lamb turns around at the Wolf's voice and jumps up. The Wolf's task is to eat the Lamb, and the Lamb's task is to escape. But it will be boring and uninteresting if the Wolf from beginning to end will only be angry and growl, and the Lamb will only shake and stutter with fear. It’s more interesting if everyone acts differently. The wolf at first feigns insult and is “nobly” indignant; he is allegedly defending his legal rights. Only at the end does he cynically admit: “I have leisure to sort out your faults, puppy!” And, howling: “...I want to eat!” — throws himself on top of the Lamb. And the Lamb, although timid at first, behaves with dignity. He feels so right that he calmly and politely explains to the Wolf his mistake, and after explaining, he turns to the stream and continues to drink. Only gradually does he begin to understand that it is better to run away before it is too late, but he can no longer do this - the Wolf seems to have pinned him to the spot with his terrible eyes. When talking, the Wolf howls on vowels, especially in words where the letters “u” and “s” occur. And at the end: “coo-hoo!”
The main detail of the Wolf costume is its huge paws with long claws. The Lamb is wearing a white baby bib with frills and a hat with a pom-pom.
Wolf at the kennel
The wolf at night, thinking of getting into the sheepfold,
I ended up at the kennel.
Suddenly the entire kennel yard rose up.
Smelling gray so close to the bully,
The dogs are flooded in the barns and are eager to fight;
The hounds shout: “Wow, guys, thief!”
And instantly the gates are locked;
In a minute the kennel became hell.
They run: another with a club,
Another with a gun.
“Fire! - they shout: - fire! They came with fire.
My Wolf sits with his backside pressed into the corner.
Teeth snapping and fur bristling
With his eyes, it seems he would like to eat everyone;
But, seeing what is not here in front of the herd
And what finally comes
He has to pay for the sheep,—
My cunning man set off
In negotiations
And he began like this: “Friends, what is all this for?
I, your old matchmaker and godfather,
I came to make peace with you, not at all for the sake of a quarrel;
Let's forget the past, let's establish a common harmony!
And not only will I not touch the local herds in the future,
But I’m happy to fight for them with others
And I affirm with the Wolf's oath,
What am I..." - "Listen, neighbor, -
Here the Hunter interrupted in response: -
You are gray, and I, my friend, am gray,
And I have known your wolf nature for a long time;
Therefore, my custom is:
There is no other way to make peace with wolves,
Like skinning them off.”
And then he released a pack of hounds at the Wolf.
This fable is one of Krylov's most famous fables. Historical, patriotic fable. Under the guise of the wise old Hunter, Krylov brought out the great Russian commander Kutuzov, the hero of the Patriotic War of 1812. And under the guise of the hypocritical Wolf - Napoleon, who, sitting in burning Moscow, began to ask for peace, realizing that he was in danger of death.
Turn off all the lights on the stage except the blue ones at night. Behind the scenes you can hear desperate dogs barking. The hounds come running with electric flashlights. They highlight the Wolf clinging to the stage. The wolf raises a dirty white flag on a stick and begins his hypocritical speech. After the final words of the fable, the lights on the stage turn off completely for a few seconds, and the deafening barking of dogs resumes in the darkness. When the stage is illuminated again, there is no one on it, there is complete silence.
Two dogs
The faithful yard dog Barbos,
Who diligently carried out his lordly service,
I saw an old friend of mine,
I'm buzzing, curly lap dog,
On a soft down pillow, on the window.
Affectionately towards her, as if towards relatives,
He almost cries with emotion
And under the window
Squeals, wags its tail
And he jumps.
“Well, Zhuzhutka, how are you living?
Since the gentlemen took you into the mansion?
After all, remember: in the yard we often went hungry.
What service do you perform? —
“For happiness, it’s a sin to grumble,” Zhuzhutka replies: “
My master dotes on me;
I live in contentment and goodness,
And I eat and drink on silver;
I'm frolicking with the master; and if I get tired,
I'm lying on the carpets and the soft sofa.
How are you living? “I,” answered Barbos,
Letting down your tail with a whip and hanging your nose: -
I still live: I endure the cold
And hunger
And, saving the master's house,
Here I sleep under the fence and get wet in the rain;
And if I bark at the wrong time,
I also accept beatings.
Why, Zhuzhu, did you get into trouble?
I was powerless and small,
Meanwhile, I'm trying to get out of bed in vain?
What do you serve?” - “What do you serve! That's great! —
Zhuzhu answered with mockery: -
I walk on my hind legs.”
How many people find happiness
Only because they walk well on their hind legs!
During the musical introduction, two stools covered with a rug are placed on the stage. Zhuzhutka is reclining on them. She has a lush bow on her neck and fashionable transparent gloves on her paws. You don’t have to put gloves on Zhuzhutka, but it’s better to let her do a manicure. He will admire his claws and clean them with a nail file.
The reader stands at the forefront on the left.
Barbos is on the right, below the stage. He has a chain around his neck, the end of which goes behind the scenes. Make a chain from scraps of tin, so that it rattles with every movement of Barbos.
Zhuzhutka looks down at Barbos, he looks up at her. He is sincerely glad that she managed to settle down so well. He doesn't envy her at all. He just wants to know what her job is. And only when Zhuzhutka stands on her hind legs and squeals obsequiously, demonstrating her “work”, Barbos spits: “Ugh!” - and moves away from her.
Dragonfly and ant
Jumping Dragonfly
The red summer sang;
I didn’t have time to look back,
How winter rolls into your eyes
The pure field has died;
There are no more bright days,
Like under every leaf
Both the table and the house were ready.
Everything has passed: with the cold winter
Need, hunger comes;
The dragonfly no longer sings:
And who cares?
Sing on a hungry stomach!
Angry melancholy,
She crawls towards the Ant:
“Don’t leave me, dear godfather!
Let me gather my strength
And only until spring days
Feed and warm! —
“Gossip, this is strange to me:
Did you work during the summer?” —
Ant tells her.
“Was it before that, my dear?
In our soft ants
Songs, playfulness every hour,
So much so that my head was turned.”—
“Oh, so you...” - “I’m without a soul
I sang all summer.”—
“Have you been singing everything? This business:
So come and dance!”
The reader stands on the left. On the left, a cowered Dragonfly, trembling from the cold, emerges from the depths onto the front stage. In her hand she holds an umbrella made in the shape of a large yellowed maple leaf on a long stem - a handle. After the words “winter is rolling in,” the reader throws up a handful of finely chopped white pieces of paper, showering the Dragonfly with snow. The dragonfly removes a leaf from the stem and wraps itself in it like a scarf. The words “in cold winter there is need, hunger comes; The dragonfly no longer sings,” the reader pronounces it as a question; turning to Dragonfly, he approaches her and sympathetically puts his hand on her shoulder. The dragonfly pushes him away and unexpectedly rudely answers: “And who would think of singing on his stomach when he’s hungry!” Still, the reader feels sorry for her. He shows the Dragonfly the Ant's house and with signs advises her to knock there. He explains the way with signs.
The dragonfly trudged along the proscenium. So she fell into a snowdrift and obviously got her shoes full of snow, because she stops and, standing first on one leg, then on the other, takes off her shoes, shakes them out and puts them on again. So she got to Ant's house. You can use the door that leads from the auditorium to the stage. Many stages have doors like this. But if not, the Dragonfly knocks right on the wall, and the Ant comes out or looks out from behind the edge of the curtain.
Ant is wearing a work apron (a nice black oilcloth one), and is holding a hammer, saw or ax in his hands—apparently, the arrival of Dragonfly found him at work. Guys sometimes blame Ant for refusing Dragonfly shelter and driving her out into the streets in winter. But that’s how Krylov wrote - obviously, the Dragonfly he had in mind deserved it.
We tried to make the Dragonfly so that you wouldn’t feel sorry for it: our Dragonfly, despite its pitiful appearance, is a rather impudent creature. She answered the reader rudely, and spoke to the Ant in a demanding, capricious tone; she actually banged on the door; without waiting for Ant's permission, she climbs into his house, so that Ant is forced to lightly take her by the shoulders and lead her away from the door. No, the audience will not feel sorry for such a Dragonfly!
Cat and cook
Some Cook, literate,
He ran from the kitchen
To the tavern (he ruled the pious
And on this day, according to the godfather, a funeral feast was held
And at home, keep food away from mice
I left the cat.
But what, come back, does he see? On the floor
Pie scraps; and Vaska the Cat is in the corner,
Crouching for a barrel of vinegar,
Purring and grumbling, he works on the little chicken.
“Oh, you glutton! ah, villain! —
Here the Cook reproaches Vaska: -
Aren't you ashamed of the walls, not just the people?
(But Vaska still cleans up the little chicken.)
How! Having been an honest Cat until now,
Sometimes people say that you are an example of humility,
And you... wow, what a shame!
Now all the neighbors will say:
“Vaska the cat is a rogue! Vaska the cat is a thief!
And Vaska didn’t just go to the cookhouse,
There is no need to let him into the yard,
Like a greedy wolf into a sheepfold:
He is corruption, he is a plague, he is a plague of these places!
(And Vaska listens and eats.)
Here is my rhetorician, giving free rein to his words,
There was no end to the moralizing.
But what? While he was singing it,
Vaska the cat ate all the roast.
And I would like a different cook
He ordered to write on the wall:
So as not to waste speeches there,
Where should power be used?
On the stage, where the cook is supposed to be, there is a stool, and on it is a large frying pan covered with a lid. Vaska the cat climbs onto the stage and walks around the frying pan. He lifts the lid and inhales the steam from the roast. Covers the frying pan, moves away, meows pitifully. He can’t stand it, rushes to the frying pan, grabs it and settles down in a secluded corner “behind the vinegar barrel” (instead, you can put one of the suitable stumps on the stage before the start of the fable). It’s good to make two “chickens”: one whole and the other already eaten by Vaska, just the bones. The Cook is wearing a white chef's suit, a cap, and has a ladle in his hand. Running in, he wipes his mouth as he goes. Under no circumstances should you portray the cook as drunk, with a stumbling gait, or with incoherent speech. It’s very ugly when guys pretend to be drunk. By the way, in this fable, the point is not at all that the Cook “ruled a funeral feast for his godfather,” but in his addiction to empty, aimless conversations and his own eloquence. Having first attacked Vaska with reproaches, he later becomes so carried away by his oratory that he almost forgets about the culprit himself and turns directly to the audience. He imitates a bad speaker, raises his hands to the sky, waves a ladle. The timid Vaska gradually becomes bolder: he calmly, no longer hiding, continues to eat and with an innocent look even assents to the Cook. At the end, he places the frying pan on a stool, carefully puts the bones in it, covers it with a lid and “washes it” with his paw.
Mirror and monkey
Monkey, seeing his image in the Mirror,
Quietly push Bear with his foot:
“Look,” he says, “my dear godfather!”
What kind of face is that there?
What antics and jumps she has!
I would hang myself from boredom
If only she was even a little like her.
But, admit it, there is
Of my gossips, there are five or six such crooks:
I can even count them on my fingers.”—
“Why should a gossip consider working,
Isn’t it better to turn on yourself, godfather?” —
Mishka answered her.
But Mishenka’s advice was wasted.
There are many such examples in the world:
No one likes to recognize themselves in satire.
I even saw this yesterday:
Everyone knows that Klimych is dishonest;
They read about bribes to Klimych,
And he furtively nods at Peter.
This fable involves not three performers - a reader, a Monkey and a Bear - but five: two Monkeys, two Bears and a reader. Can you guess why? Because, thinking about how to show a mirror in the fable, we decided to make it alive: there will be no mirror, real or fake, on the stage, but there will be “reflections”, doubles of the Monkey and the Bear. It is necessary to select two girls for the roles of the Monkey and her double, but the possibility of the same height, with the same hair; the faces may not be very similar. To increase their similarity, use costume details: the Monkeys can have exactly the same ruffled bright skirts, the same large bows in their hair. The boys—Bear and his reflection—are wearing the same vests, the same combs and canes in their hands. And the rest of the similarity depends on the execution. The fable begins even before the text begins, and this first scene is accompanied by music, like. The Monkey and her double jump out onto the stage from behind and stand opposite each other, sideways to the viewer. Between them, in the middle of the stage, there seems to be a large mirror, the size of a Monkey. The monkey jumps up to the mirror, sees his reflection there and is indignant at the intrusion of some foreign “face”. She tries to drive her away, but they want to do the same to her. She runs away from the mirror - and the “stranger” runs away. This one is hiding, watching from afar - and that one too. The monkey carefully approaches the mirror in order to waylay and punish the offender - and she is right there. He imitates her, threatens her... During the rehearsal, you will find a whole series of funny actions for the Monkey: how he wipes the mirror with his paw, and how, swinging to strike, he accidentally hurts his finger and then sucks it, and much more. The performers must train so that the movements of both are absolutely identical. Please note that if the first Monkey moves his right arm or leg, then his reflection moves with his left, that is, the way it appears in a real mirror. The bear goes to the mirror to comb his hair and straighten his tie, and his double takes out exactly the same comb. The conversation between the Monkey and the Bear takes place without music. This is the only way the audience can guess who is the real Monkey and the real Bear, and who are their reflections: the real ones speak out loud, and their doubles only move their lips.
Geese
Long twig
The man drove Geese into the city to sell;
And to tell the truth,
The goose scratched his flock of goose not very politely:
He was in a hurry to make money on market day
(And where it touches profit,
It’s not just the geese who get it, people too).
I don’t blame the man;
But Geese interpreted it differently
And, meeting a passerby on the way,
Here's how they blamed the guy:
“Where can we, Geese, be more unhappy to be found?
The guy is pushing us around like that
And he chases us, as if he were ordinary Geese;
But this ignoramus doesn’t understand this,
That he owes us respect;
That we descend our noble family from those Geese,
To whom Rome once owed salvation.
There are even holidays established in their honor!” —
“What do you want to be distinguished for?” —
A passerby asked them. “Yes, our ancestors...” - “I know
And I read everything; but I want to know
How much benefit have you brought?” —
“Yes, our ancestors saved Rome!” —
“That’s it, why did you do that?” —
"We? Nothing!" - “So what good is there in you?
Leave your ancestors alone:
The honor was right for them;
And you, friends, are only good for roasting.”
This fable could be explained more -
Yes, so as not to irritate the Geese.
There is a legend that once upon a time ancient Rome was attacked by enemies. At night they secretly surrounded the city. The geese heard the approach of the enemy and with their cry woke up the guards guarding the city, thus warning of the danger.
Have you heard the expression “walking single file”? It came “from geese”. So, one after another, in single file, all the participants enter the stage with an important “goose” step. They walk around the stage like a snake, unfurling in a long ribbon, stretching their necks, hissing angrily at the “man” who, shouting, chases them with a long twig; they are trying to grab his hand. The owner anxiously counts them, then sits down on a tree stump to rest. The geese also sit on the ground, occupying the entire stage. The passer-by is walking on the right. Geese text is divided among several Geese according to the number of phrases. The rest chime in at the end of each phrase: “ha-ha-ha!” The last lines (“Yes, our ancestors...”, “Yes, our ancestors saved Rome!” and “We? Nothing!”) The geese speak in unison. At the end of the fable, the owner gets up, takes a twig, makes the geese stand up, and they, just like at the beginning, go behind the scenes, opposite to the one from which they came. Geese can be given the same high standing collars made of thick paper, propping up their chins.
Quartet
Naughty Monkey,
Donkey,
Goat
Yes, clubfooted Mishka
We decided to play a Quartet.
We got sheet music, bass, viola, two violins
And they sat down on the meadow under the sticky trees -
Captivate the world with your art.
They hit the bows, they fight, but there’s no point.
“Stop, brothers, stop! - Monkey shouts: - wait!
How should the music go? That's not how you sit.
You and the bass, Mishenka, sit opposite the viola,
I, the prima, will sit opposite the second;
Then the music will be different:
Our forest and mountains will dance!”
We settled down and began the Quartet;
He still isn't getting along.
“Wait, I found a secret,”
The Donkey shouts: “We’ll probably get along,”
If we sit next to each other."
They listened to the Donkey: they sat down decorously in a row,
And yet the Quartet is not going well.
Now they're getting even more intense than ever
And disputes
Who should sit and how?
The Nightingale happened to fly to their noise.
Here everyone asks him to resolve their doubts:
“Perhaps,” they say: “take patience for an hour,
To put our Quartet in order:
And we have notes, and we have instruments;
Just tell us how to sit down!” —
“To be a musician, you need skill
And your ears are gentler,—
The Nightingale answers them.—-
And you, friends, no matter how you sit down,
You’re still not fit to be musicians.”
It is not so easy to obtain for this fable the very instruments they speak of. Make them out of plywood? The result will not be instruments, but models that cannot be played. It would not be surprising that the Quartet does not work out! It’s better to collect what you can: a guitar, a balalaika, two domras. Not the reader, but the Monkey, boasting, will say: “We got music, bass, viola, two violins.” Well, Monkey and her friends could have made a mistake - how could they understand musical instruments, they even made their own bows from twigs! Monkey is the first to run onto the stage with a bundle of sheet music in her hands. She looks for a suitable clearing, counts the stumps - just four, great! - and calls the others. The reader introduces them to the audience, calling them by name. Having boasted of notes and instruments, Monkey seats the musicians on stumps, distributes notes to them, and suddenly realizes that there is nothing to play with. Here everyone gets a twig for themselves. “E-and-and - one!” - Monkey commanded, waving her twig, and everyone “struck their bows.” At first, the musicians are delighted with their music, but, looking at the reader, who covered his ears and ran away from the Quartet, they realized that something was wrong.
During the course of the action, the Quartet is moved several times, and for each new mise-en-scène, use all the possibilities: the proscenium, the stage, and the rearrangement of stumps.
Of course, it is not so easy to move real stumps in a real forest, but in the “land of fables” everything is possible. The Monkey and the Bear even climb trees to play.
Tools must be handled with care. Even in the midst of arguments, do not think of throwing them to the ground out of frustration, or roughly pulling the strings, or fighting with them.
And the Monkey, and the Bear, and the Donkey, and the Goat are essentially good-natured creatures. They are not so much angry about their failure as they are sad. And the Nightingale (he answers them from the tree) speaks to them not disdainfully, but quite politely and even sympathetically.
Donkey and nightingale
The donkey saw the nightingale
And he says to him: “Listen, buddy!
You, they say, are a great master of singing:
I would really like
Judge for yourself, having heard your singing,
How great is your skill?
Here Nightingale began to show his art:
Clicked and whistled
On a thousand frets, pulled, shimmered;
Then gently he weakened
And the languid sound of the pipe echoed in the distance,
Then it suddenly scattered in small fractions throughout the grove.
Everything then listened to Aurora’s favorite and singer;
The winds have died down, the choirs of birds have fallen silent
And the herds lay down.
Breathing a little, the shepherd admired him
And only sometimes
Listening to the Nightingale, he smiled at the shepherdess.
The singer has died. The donkey, staring at the ground with his forehead,
“Pretty much,” he says: “it’s not false to say,
I can listen to you without getting bored;
It's a pity that I don't know
You and our rooster:
If only you had become more alert,
If only I could learn a little from him.”
Hearing this judgment, my poor Nightingale
He took off and flew to distant fields.
God save us from such judges.
The most difficult thing in this fable is playing the role of the Nightingale. But it’s as if the Nightingale wasn’t given any words, and he has nothing special to do - sit on a tree and sing. It’s not hard to guess what to sing: of course, everyone’s favorite “Nightingale” by composer Alyabyev. But how can you sing if you can’t find a girl or boy to play the role of the Nightingale who could sing or whistle this melody artistically? Is it possible for Nightingale to open his mouth to this music, performed by a pianist behind the stage, pretending that he is singing? Of course not. It’s better to do this: let the Nightingale sing, but not out loud, but to himself. To do this, he does not need to “open his mouth”, but only needs to listen to the music very carefully and feel it. He can even conduct himself a little, with light movements, “sing with his hands.” He conducts and looks around and with his “singing” hands, as if he points the audience to everything he sings about: the sky, the earth, the herbs and flowers, all the nature that he loves. But this is the Nightingale’s song. Appropriate lighting will also help create the mood: it’s a summer night on the stage, the moon has risen over the tree. The fable begins like this. When it got dark on the stage and the Nightingale’s singing was heard (he himself is not visible at first), the reader carefully comes out and listens with bated breath. Heavy footsteps are heard, the music stops, the reader turns around. “Donkey...” he announces with annoyance and then adds with tenderness: “... and the Nightingale.” After the Donkey's demand, the Nightingale is up in the tree and performs the difficult part we were talking about. In the middle of his singing, three girls quietly enter the stage, hugging each other, on one side, and two boys on the other: they also came to listen to the Nightingale. After the Nightingale “flew up and flew across distant fields,” they all turn to the audience and say with a sigh: “God deliver us from such judges.”
Flowers
In the open window of rich peace,
In porcelain, painted pots,
Fake flowers, standing together with living ones,
On wire stems
Swung arrogantly
And we displayed our beauty astonishingly.
Now the rain started to fall.
Here they ask for taffeta flowers from Jupiter:
Is it possible to stop the rain?
They scold and vilify the rain in every possible way.
"Jupiter! - they pray: - stop the rain;
What are the ways in it,
And what's worse in the world?
Look, you can't walk down the street:
There’s only dirt and puddles everywhere.”
However, Zeus did not heed the empty plea,
And the rain passed in its own way.
Having driven away the heat,
It cooled the air; nature has come to life,
And all the greenery seemed to be renewed.
Then on the window
All fresh flowers
Spread out in all its glory
And the rain became fragrant,
Fresher and fluffier.
And the poor Flowers have been fake ever since
Stripped of all their beauty and thrown into the yard,
Like rubbish.
True talents do not get angry for criticism:
She cannot damage their beauty;
Some fake flowers
They are afraid of rain.
The end of the previous fable seemed to be not entirely polite towards the audience: with the words “God deliver us from such judges” as. a hint would be given... To dispel this impression, we show “Flowers” as the last fable in the play. Three girls stand on the stage with large, roughly and clumsily painted paper flowers in their hands. The girls pretend to be artificial flowers, they feel very beautiful and look around proudly. In front of them, on the bottom step of the stage, with their arms crossed and their heads bowed, sit three other girls, modest and inconspicuous. These are fresh flowers that have not yet bloomed. Rain is depicted in music, on high notes. Complaining phrases must be divided between three fake flowers. During the rain, a transformation occurs with all the flowers: the fake flowers wilt and in the end fall from the girls’ hands, and the girls themselves quietly move away from the stage. Living flowers, on the contrary, gradually “bloom”: each one raised her head, straightened her back, one hand opened, the other extended, and each girl found herself holding a real flower in her hands. If it is impossible to get real flowers, you will have to take artificial ones, but made They are gracefully, tastefully. The reader approaches the girls, they hand him their flowers, he takes them, makes a bouquet and smells them.
Before the final quatrain, all participants in the performance come on stage wearing pioneer ties. They line up to the right and left of the reader with flowers, who is in the center. “True talents don’t get angry because of criticism,” say those on the left. “She cannot harm their beauty,” say those standing on the right. And they all finish together:
“Only fake flowers are afraid of the rain.”
With these words, everyone seems to be saying goodbye to the public, as if they are telling it: “We are not offended when we are criticized; fair criticism will only help us, and we will be grateful to you for it.”
Nomination “Methodological piggy bank of a preschool teacher”
Abstract of the educational activity “Theatricalization of fables as a means of developing the emotional sphere and emotional vocabulary in older preschool children with special needs in a preparatory speech therapy group” based on the material of I. A. Krylov’s fable “The Crow and the Fox.” A dramatization of A. I. Krylov’s fable “The Crow and the Fox.”
The big plus is that this does not require any expenses, but only a few costumes from the kindergarten costume room and chairs arranged in a semicircle in the playroom. It is quite easy to choose a work for theatrical performance by referring to the program, in which they are indicated according to age.
Each little actor will give his learned roles his own unique identity and character, and therefore, emotions will certainly be transferred to the little spectators. And believe me, every child will find their own response! This can be clearly seen from the children’s faces captivated by the action taking place and can be heard from the stormy applause. There will definitely be questions about the next performance and there will be many who want to play a role in another dramatization, but for this you will have to work hard!
Here the teacher is given an excellent opportunity to solve not only the immediate problems of correcting speech disorders and developing the emotional sphere, but, what is equally important for the personal development of the child, is to increase motivation to eliminate their own defects.
Target: enrichment of communication processes due to the mastery of emotional vocabulary by children with OHP III; improving the skills of embodying certain experiences in the game.
Tasks:
- replenishment and activation of the dictionary (due to words denoting emotions, names of objects, actions, signs);
- practicing diction, automating all sounds;
- consolidation of the skill of using direct and indirect speech;
- improvement of monologue and dialogic forms of speech;
- development of the intonation side of speech;
- activation of emotional vocabulary;
- development of non-verbal means of communication (facial expressions);
- clarification of emotional states (heroes of the fable) accessible to a given age.
Program content:
- Introducing children to examples of Russian classical literature.
- Disclosure and clarification of negative concepts: flattery, insincerity, deceit; positive concepts: sincerity, truthfulness, honesty, modesty.
- Creating children's attitudes towards the behavior of the main characters in fables.
- Enrichment and activation of emotional vocabulary.
Preliminary Job:
- reading fables by L. Tolstoy, S. Mikhalkov, I. Krylov to children, followed by viewing colorful illustrations;
- coloring illustrations for Krylov's fables using coloring books;
- vocabulary work;
- dramatization of the fable “The Crow and the Fox”.
Attributes For staging fables:“crow” and “fox” costumes.
Progress of the lesson
Speech therapist: Children, I tell you and read a lot of fables, nursery rhymes, proverbs, and fairy tales. We learn poems, songs...
Children: Fables.
Speech therapist: That's right, fables. Do you know, dear friends, that fable is one of the most ancient literary genres? It appeared back in Ancient Greece. The ancient Greek fabulist Aesop created especially many works of this genre. Aesop lived more than 2.5 thousand years ago; he wrote his fables in prose. His wit and resourcefulness have glorified his name throughout the centuries. It is believed that he was the first to write fables - he discovered the language of allegory, when the poet speaks not directly, but by hints. In Russia, Ivan Andreevich Krylov wrote fables. He mastered the “Aesopian language.” Through allegories, proverbs, sayings, hints, he told the truth: “And Vaska listens and eats,” “I didn’t even notice the elephant,” “A helpful fool is more dangerous than an enemy”... You already know what fables are. This...
Children: This is a short story, most often in verse.
Children: Poem.
Children: The fable is slightly similar to a fairy tale. In it, animals and birds usually behave just like people. They are good and evil, smart and stupid.
Speech therapist: Children, how does a fable differ from a fairy tale, story, or poem?
Children: Fairy tales are long and fables are short and easy to read.
Children: The fable must have a lesson that says what to do and what not to do.
Speech therapist: Using the example of the behavior of the heroes of fables, the shortcomings of people are shown and condemned - envy, stupidity, greed, boasting and others. What fables do you know?
Children: “Elephant and Pug”, “Dragonfly and Ant”, “Ant and Dove”, “Lion and Mouse”, “Crow and Fox”, “Monkey and Glasses”.
Speech therapist: Well done! You have become familiar with many fables.
Speech therapist: And only I. A. Krylov surpassed everyone - he wrote in poetry. He is considered throughout the world to be an unsurpassed fabulist!
- Who did Krylov ridicule and why?
- What stories happened to the heroes in these fables?
- What do these fables teach?
Children: No need to listen to flattering words!
Speech therapist: Remember, think carefully, what proverbs we know about flattery.
Children: Believe your own eyes, not the words of others.Flattery has no honor.
How many times have they told the world,
That flattery is vile and harmful;
But everything is not for the future,
And a flatterer will always find a corner in the heart.
Speech therapist: Children, you said that a fable is a living scene: in it someone argues, quarrels, and makes peace. Now the participants will put on costumes and act out the fable!
Scene. All scenes are performed in costumes using attributes.
Results:
The skillful use of theatrical games allows not only to develop a variety of skills in older preschoolers, but also to solve very important problems of correctional and educational work.
It is the purposeful formation of emotional speech in children with severe speech impairments (SSD) that contributes to the correct understanding and naming of a certain emotional state, the expression of one’s own and others’ experiences and feelings, and affects cognitive processes.
