Children's Theatre Research Articles

The aesthetics of forming acting performance in children's theater performances

The theatrical performance embodies a multi-faceted aesthetic taste that has emerged from the creative human consciousness. As human thinking evolved and developed a love for play and entertainment, it began to fill its aspects with singing, acting, shaping, and decorating. The basics of this study consist of the primary form of theatrical performance and its symbols, meanings, and the use of children's theater in efforts to achieve visual and kinetic events through harmony and development of various means until it became the fundamental and essential role in using the actor's tools as a tangible sign and nucleus in the formation of the theatrical performance. This medium is especially true when the theatrical act gains a diverse aesthetic formation to entertain and delight children. Therefore, the researcher presented his study entitled "Aesthetics of Theatrical Performance Formation in Children's Theater (Jad and Yara in the World of Arts - Model)" in the light of four chapters according to the scientific research methodology, seeking to achieve the research goal of revealing the aesthetics of the formation of theatrical performance in the Jad and Yara in the World of Arts play. The study concluded with several results, the most important of which is that the aesthetics of theatrical performance were characterized by diversity, repetition, and change of visual forms, the use of kinetic performance of visual and auditory elements, and its intellectual and aesthetic significance. In addition, the consistent color harmony, in which the theatrical performance formed an interactive product, was a dynamic organization in which balance and form were transferred.

The concept of visual patterns in children's theater performances

ان التطور التكنولوجي في عناصر انتاج الصورة المسرحية يرتبط بعدة مفردات يتم توظيفها في رسم المنظر المسرحي والذي يرتبط بالمكان مباشرة ، اذ ان الية اشتغال السينوغرافيا في مسرح الطفل تتشكل عبر منظومة الضوء بأجهزتها المختلفة ومؤثراتها الصورية وتقنياتها المتقدمة، اذ يمكن ان يشكل الحضور الكمي والنوعي لتلك المفردتين مسبوقتين بمعرفة فنية تسمح بتحديد فنية التزامن وفنية التركيب، اي بمعنى ان كل قطعة ديكورية يجب ان تكون في مكانها الفعلي ، وان اشتغالها يرافق اشتغال الحركة والفعل ، حتى يتم تفعيل تلك القطعة الديكورية وعدم تركها بشكل غير فاعل ."اذ يتحقق ذلك من خلال مسارات الحركة الضوئية الناتجة عن تقنيات تركيب الضوء في العرض المسرحي سواء في الحركة الموضعية وتغيير مصادر البقع الضوئية او باستخدام اجهزة المتابعة او الليزر او كل الوسائل الحركية المتاحة للضوء". (الباهلي، 2010، ص195)كما ان العناصر البصرية التي تساهم في تقديم ملامح سينوغرافية للعرض لابد لها من ان تهتم بالتسلسل الزماني المرتبط بالتسلسل المكاني وهما يشكلان نسق الاحداث ، وحركة شخوص المسرحية، وطبيعة الصراع والعلاقات الدائرة ما بين الشخصيات من جهة وما بين الشخصيات وفضاء العرض من جهة اخرى .ان مفهوم البناء او البنية التي اصبحت تعني "الكيفية التي تنتظم بها مجموعة من العناصر المتماسكة فيما بينها بحيث يتوقف كل عنصر على باقي العناصر الاخرى وبحيث يتحدد هذا العنصر بعلاقته بتلك العناصر" (بنعبد العالي، 2005 : 11).لذلك فان الانساق البصرية وما تحمله من دلالات تربوية يمكن ان تظهر في عروض مسرح الطفل بحيث تشكل احد اهم المنطلقات التي يستند اليها فضاء العرض المسرحي كونها جزءا لا يتجزأ من المدركات الحسية التي تسهم في تحقيق التسلية والامتاع بأسلوب درامي يتمكن الطفل من ادراكه، ولكون الطفل يتلقى المعلومات عن طريق الفعل الحي وجدانيا مع ما يعرض امامه على خشبة المسرح من حالات تمس حياته اليومية ونشاطاته ورغباته التي لها دلالات تربوية يسعى المهتمين بالعرض المسرحي الموجه للطفل الى غرس المفاهيم الايجابية والعمل على تغيير او ترسيخ مفاهيمه وثبات القيم والعادات الاجتماعية المكتسبة لديه، لذا فان الانساق البصرية تلعب دورها في فضاء مسرح الطفل كونها تؤدي وظيفتها بطريقين، الاولى باتجاه الانساق البصرية والية اشتغالها تربويا، والثانية بآلية الاشتغال وعلاقتها بسينوغرافيا مسرح الطفل، ومما تقدم تؤسس الباحثة مشكلة بحثها من خلال التساؤل الاتي: ما الانساق البصرية وكيف يتم توظيفها في عروض مســــرح الطفـــل

아동극 감상 교육을 위한 사례 연구

Objectives The purpose of this study is to examine some cases of Teaching Children's Theatre Appreciation designed in consideration of objects and before/after performances in order to enrich the experience of watching a children's theater.
 Methods To this end, prior research related to performance appreciation was reviewed, and the appreciation education program actually designed and applied by the Korean children's theater company was investigated and analyzed. The cases of the theater company ‘Olive and Jin Kong’, the theater company ‘Dandelion’, the theater company ‘Story Bucket’, and the theater company ‘Good Neighbors’ were targeted, and the research was designed and analyzed from March to December 2023 to write a paper.
 Results According to a survey of cases of designing performance viewing methods, the children's theater company was developing various programs that children can do before, during, and after the performance when designing appreciation activities to construct subjective meanings and aim for objective evaluation. The types of methods of appreciation before the performance included the art play workbook of the performance of the theater company “Olive and Jin Kong”, “Me, the Monster, and the Bag”. The types of methods of appreciation during the performance included Good Neighbors' puppet show to prevent sexual violence, and a character in the puppet show appeared in the middle of the performance to communicate with the audience. As for the type of appreciation method after the performance, the creative theater company “Story Bucket” distributed subdivided activity sheets based on the audience's age and guided children to do various activities after the performance, or the notable case was that children selected from among physical activities, art activities, and discussion activities after watching the performance at the theater company “Dandelion”.
 Conclusions Based on various programs developed by these cases, Children's theater companies should discuss and develop more ways to watch performances in the future to enrich the way to watch children's plays.

The Diversity in the Reception of Children's Theatre Performances As Exemplified by the Play "the Eight Days of the Week"

The Diversity in the Reception of Children's Theatre Performances As Exemplified by the Play "the Eight Days of the Week"

Dimensions of Educational Values in Children's Theatre A reading of the play Samir and the school trip by the storyteller Kahman Massouda as an example

Dimensions of Educational Values in Children's Theatre A reading of the play Samir and the school trip by the storyteller Kahman Massouda as an example

Children's theater performance "Buta Grana Ireng" reinterpretation of Sudamala story in Demping Village

Demping, as a tourist village located in Karanganyar Regency, Central Java, has a variety of exciting tourism potential, both natural and religious. The lives of people who are predominantly Hindu still adhere to customs and various activities of religious traditions that are in synergy with their natural beauty. One thing that attracts attention is the public's trust in Sudamala's story. Sudamala tells the story of Durga, ugly and evil until she becomes the beautiful and kind Goddess Uma. Starting from this story, this research attempts to develop it into a children's theater performance by highlighting the values of the Sudamala story. The approach used is a deconstruction perspective from "sanggit" reinterpretation, namely, re-understanding the meanings contained in the story of the Sudamala text with a new meaning. Through this analysis, we can understand in depth the contents of Sudamala's literary works, which are then worked out skillfully in the theatrical work of Buta Grana Ireng children. In the end, the reinterpretation of sanggit in the theatrical performance of the Buta Grana Ireng children was generally able to increase the appreciation of the new theatrical work from the reinterpretation of the Sudamala story at the Sukuh temple and became a new performance work in the Demping Tourism Village.

The role of improvisation and its use in children's theater

The role of improvisation and its use in children's theater

Mechanisms of work of the performer of the character in the children's theater

منذ البدايات الاولى لظهور المسرح على يد الاغريق ولازال فن الدراما يخضع لتغيرات عديدة على جميع المستويات سوآءا في ما يخص النص او العرض وخاصة فن الممثل المسرحي ,اذ ان هذه التغيرات قد طالت الممثل نفسه سواء كان الممثل في مسرح الكبار او مسرح الطفل ,ولكون مسرح الطفل يتمتع بخصوصية معينة لذلك وجب على المؤدي صياغة اداءة الداخلي والخارجي بما ينسجم وبيئة الحدث المقدم للطفل. والمؤدي في مسرح الطفل يرتكز على مجموعة من التقنيات في تقديم وايصال الفكرة للطفل. وان هذا البحث هو اجابته عن تساؤل مفاده. ماهي الاليات التي يستخدمها المؤدي في عروض مسرح الطفل؟

Grotesque works in children's theater texts

Theater is described as a form of human expression, and an important human necessity, through which the needs of individuals and societies are expressed, and an important mediator for the transfer of educational, social and intellectual dimensions. Hence, the importance of the child’s theater emerged as a guiding educational method that affects the child’s development educationally, emotionally, psychologically and socially through imaginative play that combines enjoyment and entertainment. The grotesque is one of the artistic methods that work to attract the attention of the recipient in theatrical texts that combine dissonance and contradiction in a dramatic act that combines the beautiful and the ugly, the honest and the false together as an expressive method for the theatrical text directed to the child. The first chapter (the methodological framework) dealt with the research problem that was identified in the following axis: What are the works of grotesques in children’s theater texts? The importance of research on the subject of grotesques is evident as it is a sensor that provides researchers and stakeholders in the field of children’s theater by shedding light on the concept of grotesques and its activities in his book the theatrical text directed to the child. Child . The researcher reached the most important results: 1-Presenting what is positive and negative in an objective manner within the drama of the theatrical text 2-The presence of animal and plant characters, which makes the text a kind of humanized plays

Детский театр и его роль в воспитании и развитии детей

Детство рассматривается как важный этап роста и развития человека. Обосновывается важность получения ребенком необходимого опыта, навыков и убеждений средствами детского театра, играющего важную роль в интеллектуальном, социальном, психологическом, научном, языковом и физическом развитии детей, формировании личности, развитии творческих способностей, становлении социального поведения. Показаны возможности детского театра как одного из важнейших комплексных воспитательных средств, инструмента развития личности обучающихся, соответствующего склонности детей к обучению через ролевую игру. Делается вывод об условиях эффективности работы детского театра. Childhood is seen as an important stage in human growth and development. The importance of obtaining the necessary experience, skills and beliefs by the child by means of children’s theater, which plays an important role in the intellectual, social, psychological, scientifi c, linguistic and physical development of children, the formation of personality, the development of creative abilities, the formation of social behavior, is substantiated. The possibilities of children’s theater are shown as one of the most important complex educational means, a tool for developing the personality of students, corresponding to the inclination of children to learn through role-playing. The conclusion is made about the conditions for the eff ectiveness of the work of the children’s theater.

Children's Theatre and Achieving Educational Goals in Schools

The most crucial aspects of community development، which connect to the future of each community's function and its future، are education and learning steps. In order for their correctness and stability to guarantee a good living for people and serve people، nations determine the fields of theater، education، and learning as well as the level of cultural and civil understanding that is to come. Children's theatrical development has always been at a low level in the Kurdistan Region due to ongoing occupation and abuses of sovereignty، and this weakness is increasingly apparent between 2003 and 2021. even while its justifications are altering. We will discuss the forerunners and goals of the development of children's theater since the Greek era as a source based on resources in this study. We will also analyze the essential elements of children's theatre and significant educational pathways، as well as different types of children's theatre and their effects on children، the circumstances of writing drama texts، the role، and responsibilities of the director's teacher in how to deal with performances and presentations، as well as s presenting some findings regarding children's theater and the impact of punctuality.

Analysis of the educational values in the play Chrysanthemum Flower directed for children

This research was devoted to studying the of the theatrical impact performance presented in the Children's Theater in the play chrysanthemum flower on children educational values. The researchers adopted the descriptive-analytical design as a methodological framework for building the research procedures to achieve the research objective. An analysis form consisted of 15 items representing aesthetic and educational values as mentioned in the indicators of the theoretical framework. Findings showed that the play chrysanthemum flower revealed some aesthetic and educational values. Findings also revealed that the theatrical texts were characterized by simplicity, clarity, imagination, and sequence of events, in order to communicate the writer's goal to the recipient, as it appeared in the previous samples. The educational values have an influential presence in the texts of Saadoun Al-Obeidi, specifically the texts that address the child. It is recommended organizing specialized educational courses by specialists to spread cultural awareness of the mechanisms of writing a theatrical text directed to children for amateur writers.

The role of the new education in achieving the educational principles of children's theater

The role of the new education in achieving the educational principles of children's theater

ШЛЯХИ РОЗВИТКУ ТЕАТРАЛЬНОЇ КУЛЬТУРИ МАРІУПОЛЯ НА ПІДКОНТРОЛЬНІЙ ТЕРИТОРІЇ УКРАЇНИ

The article highlights the main features of the development of theater art in Mariupol on the territory controlled by Ukraine. The activities of the Independent Theater of the author's play «Conception», its repertoire and the main challenges faced by the Mariupol collective after the full-scale invasion of Russia are outlined. It was found that this theater became the only group that managed to resume its work almost in full in Ukraine. It is emphasized that it was the theater of the author's play Conception that was able to unite the people of Mariupol and revive theater culture in the territory controlled by Ukraine. It is noted that when the collective started its work in Kyiv, it was joined by actors from other theaters of Mariupol and Ukraine in general. In the performances «The face of the color of war», «Staying together», «Immigrant life» with the help of artistic images, the actors of the Mariupol independent theater of the author’s play Conception, who were in the occupied city until April, told the audience both their stories and the stories of people , who managed to leave the territories captured by Russian troops to the territory controlled by Ukraine. It has been established that the actor of the Theater of author's play "Conception" is the director of the children's theater «Tezy», thanks to which small and young Mariupol residents create stage images, work with literary works, train body plasticity and pronunciation, experiment and generate creative ideas as part of classes. The scientific novelty of the research lies in the fact that for the first time in cultural studies, the peculiarities of the development of the theater art of the Northern Azov region in the conditions of martial law have been highlighted. Key words: theater, Mariupol, theater culture, war, Ukraine, occupation.

Employing popular folk music and songs in the children's theater

تهتم هذه الدراسة بتحديد أهمية الموسيقى والأغاني التراثية الشعبية، وتوظيفها ضمن العروض المسرحية للأطفال، التي تُعد ذات فائدة كبيرة في توسعة الافاق المعرفية والذهنية والنفسية للطفل، وتضيف البهجة والسرور والاستجابة للألعاب الموسيقية القائمة على الربط بين الايقاع واللعب والتمثيل، حيث قامت الباحثة بتقسيم البحث الى اربعة فصول، تضمن الأول، الإطار المنهجي للبحث، متمثلاً بمشكلة وأهمية وهدف البحث، الذي يتحدد بضرورة تناول هذه الدراسة من جانب اكاديمي وتحديد العنوان، ثم تناولت الباحثة في الفصل الثاني، الإطار النظري، والمتمثل بالموضوعات ذات الصلة بهدف الدراسة والتي شملت: (العلاقات والروابط بين الموسيقى والمسرح، الموسيقى ومسرح الطفل، مفهوم التراث الشعبي، الأغاني ولعب الأطفال التراثية الشعبية). وأشتمل الفصل الثالث منهجية البحث، أما الفصل الرابع ضم، العملية الوصفية للعينات الخمسة التي اختيرت للشرح واهمية توظيفها ضمن عروض مسرح الطفل، كما توصلت الباحثة إلى عدد من النتائج، ثم وضعت عدداً من التوصيات والمقترحات وأخيراً قائمة المصادر.

Characteristics of costume design in children's theater performances

Theatrical costume constitutes a peculiarity in the theatrical performance because of its ability to communicate and communicate with the rest of the visual elements of the show in highlighting the intellectual and dramatic values. Fashion developments in theatrical performance, the second: the design elements of costumes and their characteristics, the third, which includes research procedures, and the fourth, in which the research results and conclusions were presented, including: The play (Happening on the Farm) is considered one of the plays with educational, educational and aesthetic goals, as it carried in its formats the features of simplicity and diversity of the visual formal connotations of the child. The costume designer has an important role in communicating the idea of ​​the play and its contents and conveying its connotations as well as his imaginative and innovative ability, by dealing with the nature of the material or material and designing it in accordance with the viewers of the show. The study concluded with sources and appendices.

There's No Place Like Home(land) in American and Soviet Fantasy Cinema of 1939: The Wizard of Oz and Vasilisa the Beautiful

There's No Place Like Home(land) in American and Soviet Fantasy Cinema of 1939: <i>The Wizard of Oz</i> and <i>Vasilisa the Beautiful</i>

THE FORMATION OF ECOLOGICAL CULTURE OF CHILDREN THROUGH THE PERFORMANCE "ADVENTURE OF THE SNOW LEOPARD" OF THEATER FOR CHILDREN AND YOUTH NAMED AFTER N. SATS

The article considers the possibility of forming the ecological culture of the younger generation through theatrical art, where the fairy tale is the main pedagogical technique of environmental education of students. Currently, along with the traditional genres of TYUZ (magic, social and household fairy tales, children's musical, etc.), the range of children's drama is expanding due to the integration of modern stage forms into the TYUZ repertoire, such as plastic drama, ecological theater, children's performance, etc. The maximum adaptability of the language of performance to children's emotional perception (stage entertainment and dynamics), the use of advanced technologies in the theatrical production industry and the danger of a potential environmental catastrophe justify the relevance of the functioning of the ecotheater for changing children's psychology and awareness of priority environmental values. The purpose of ecological productions of the world children's theater, including in Kazakhstan, is to form the correct children's ecological worldview, to foster a sense of responsibility to the living and inanimate nature, civic duty and national patriotism. The study of the problem of environmental education of children through theatrical art on the example of the play "The Adventure of the Snow Leopard" of the Theater for Children and Youth named after N. Sats allowed to identify the solution of a number of eco-pedagogical tasks of the state noted in the Message of the President of the Republic of Kazakhstan. The research results obtained during the survey diagnose the relevance of an unconventional artistic approach through the visualization of a broadcast problem in the issues of environmental education of students.

Educational connotations in texts, children's theatre

Children are invented beings that can search and learn more inventors in the theater, the theater is considered one of the greatest arts in the history of human civilization, and the theater was launched by children at first Until this time and throughout this history he has been able to provide a great service to children and humanity through the goals of the texts and teams of the powers, and this is because of the art of theater except acting The importance of a group of different races and subjects is as follows: (Texts, Music, Light, Event, Time, Place, Accessor, Makeup, Dicor, Dialogue, ..) And raising awareness, teaching, and improving the level of worldview and understanding children and humanity has been established, which is why the theatrical text and the importance of text with its development He was able to get into most of the dimensions and gaps of human life and take advantage of them and make them an important part,Among them: (Belief, education, creative work, education, religion, social subjects, politics, history, love, patriotism, ridicule, ..)Of course, all of these people have caused encouraging and guiding children and many types of investigations and speeches On the technique and content of theatre and theatre stories by critics . in this frame and for the purpose of looking more In the role and importance of Kurdish theatre text, we needed to look at children's theatre in Kurdistan region and the importance of text Theatre in children's education in the Kurdistan Region.

Aesthetic and Educational Dimensions of Songs and Chants in Children's Theater Performances

The present study consists of four sections. Section one tackles the problem statement that revolves around the idea of aesthetic and educational dimensions of songs and chants in children’s theater performances. The significance of the present study is manifested by clarifying the aesthetic and educational dimensions of the musical templates employed in children’s theater performances due to their importance in Communicating those values to the recipient child. The present study aims to identify the aesthetic and educational dimensions of chants and songs employed in the performances of the child’s theater. The section also presents the limits of the present study, and it is concluded by defining the key terms. Section two is subdivided into two subsections. The first subsection is entitled Aesthetics of songs and chants in children’s theater Performance. The researcher studied the spiritual aesthetics included in lyrical and chanting forms in children’s theater performances. The second subsection is entitled The educational dimension of songs and chants presented in children’s theater performances. The researcher studied various educational values involved in lyrical templates employed in children’s theater performances. Section three includes the research sample, its tool and methodology, and an analysis of the selected sample. Section four includes the results, including: 1. The musical templates employed in this show came as an integrated aesthetic educational system rich in values that helped the child develop his/her intellectual and aesthetic spirit, 2. Music positively affected the academic performance of the recipient (the child), helped develop his/her social skills in all its forms, and helped create an outlet for creativity, which is crucial to his/her growth, 3. This sample included the various musical templates that permeated the movement of the actors' bodies and helped to show the educational and aesthetic values of the performances through their sensory components that can be explained through the sense and minds of children, 4. The various musical templates included in this show were presented in a variety of ways in terms of rhythm and melodies, or even in the form of solitary music and moved away from monotony, which prompted them to create an aesthetic distance between them and the child and 5. The rhythmic and melodic diversity in this show is the adjuster for the rhythm of the public show, especially the control of the actor’s movements, which helped develop the child’s sensory and intellectual awareness of the spirit of the show, and thus achieve the theory of broadcasting educational values.