Setting up a fairytale Theater for kids

Hello Guys, it been a while, have been busy with some projects in my school, hope you missed me. Lol!!! 😂

" A real voyage of discovery is not to look for new lands but to have new eyes"

There is a space where you enter on tiptoe a place where fantasy is welcomed and stimulated the rules are few but sufficient Realities are many and interwoven with each other in an explosion of colorful emotions to be experienced. Theater experience with 4-year-olds.

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We live in a complex historical period in which knowledge has become fragmented, specialized and professional culture has acquired increasingly sophisticated and elaborate methods and techniques. School and education have undergone radical changes that are the mirror of the transformation of the whole society ...

When children choose and organize the games they need, often the best thing you can do is watch and listen to them carefully. But when it is the adult who offers the game, this can be used as a means to learn and educate. In this context lies my work that proposes stimuli and ideas, identifiable as vehicles, which as such proceed in relation to how they are guided.

During the Theatrical Expressions Workshops that I take care of in Grace kindergartens, an activity or a game can bring in different places, it can stimulate the interest or increase the experience of a child, or it can happen that it does not come close not even to his ears. This does not only depend on the type of activity proposed, but also, and above all, on how much the adult is willing to get involved in the games offered to children.

To stimulate the imagination, the creativity of children and to play with them I choose fairy tales, stories that talk about travel, adventures, emotions.

The work starts from the idea of ​​setting up a place inside the space that becomes a meeting point where children can go to experience different experiences every time. In that place, which will gradually be enriched with new stimuli, the little visitors will be expected by a person, a bit 'landlady and a bit' companion of adventures, with which to share the excitement and rituality of the game. This kind of laboratory should be seen as an opportunity to experience and experience from the inside in first person, as an active moment of growth, as a sort of open container to visit, to play, to disassemble and reassemble according to their own desires.

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THE CREATION OF THE SCENIC SPACE

The theatrical expressivity workshop begins each time with the creation of the narrative space or scenic space that defines the transition from reality to fiction. The preparation of the stage space is at the beginning of every theatrical action, before learning how to act, first of all it is fundamental to know where to act. The scenic space is that place dedicated to theatrical expression where there are few but precise rules, which has its own perimeter from which one enters and exits. Represents the container in which the story is played and its rules are determined by this. If we imagined the room as a beach, it would be normal to lie down on the floor and sunbathe; if it were high mountain, putting on a jacket could be logical. In the history of the Wizard of Oz, for example.

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NARRATION AND GAME

Creation follows the narration or representation lasting about 10-15 minutes of excerpts from the story chosen, the purpose is to develop listening, to stimulate children to narrate in telling stories by re-elaborating and reliving the contents through basic games psychomotor and dramatization.

In this way children play and stimulate themselves concretely, not by theorising but by playing. In this context play becomes a total experience, becomes constructive action of oneself, of one's own personality, and therefore learning in the more general sense of the term.

The game becomes a means to learn how to move, think, imagine and live. With this structure the children not only does things, but lives experiences in history, giving them a larger and more significant value. Moreover, in a single environment, always with the same group of people and playing the same story, they can experiment with different capacities and dimensions of themselves . This allows them to understand the importance of their complete being, which is able to express themselves in a global way, without having to fragment capacities, emotions, or even depending on where they are , what they do and who they are with.

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PLAY THE HISTORY OF THE MAGIC OF OZ

The story of the Wizard of Oz makes it possible to deal with various themes: the narration of the story to stimulate LISTENING and to make the text known; the ESTIMATE and the TRUST IN SELECTION due to the journey that Dorothy does in an unknown realm where she faces new situations. Children themselves in the course of history discover qualities that perhaps do not have, or rather - as happens to the Scarecrow, the Woodman of Pond and the Lion - who think they have not but instead, put to the test, will prove to possess.

Other themes are that of SOLIDARITY: during the trip Dorothy and her friends often meet someone willing to help them, or of FEAR: initially the Wizard of Oz does not seem a kind affable, and then there is still a Wicked Witch to kill and so much road to do in an unknown country.

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Each time, at the conclusion of the narration, we pause to talk about what happened to Dorothy and the children, to verify understanding and to give a name to the emotions experienced. Teachers are involved, during and at the end of all the meetings during which both theoretical and practical stimuli and paths are provided for the achievement of the objectives in ways that highlight trust, listening to oneself and others, the enhancement of experiences, in an atmosphere of research that stimulates proposals, hypotheses, solutions by the working group.

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