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• W58833798 abstract "Dialogical drama with puppets is a specific method of revealing basic cultural values for preschool children. For this study, an interactive performance of a puppet show for young children was videotaped, along with a later performance of the same show by the children. The study compared the techniques used by the adult performers and the children and the similarities and differences in the fairy tale plot between the adults' and children's performances. The study also attempted to clarify the possibilities for children's creative expression in this type of activity. Episodes of the adults' and children's presentations were compared regarding composition, texts, addressees, and means of expression. Analysis indicated that the puppet show performed by the children was not a repetition but an independent creative activity that helped the children to shape the process of their own understanding and to discover sense hidden in the fairy tale; sensitive and skillful adult participation seemed key to the quality of the children's creative learning experience. (Contains 10 references.) (EV) Reproductions supplied by EDRS are the best that can be made from the original document. Dialogical Drama with Puppets and Children's Creation of Sense Milda Bredikyte Department of Preschool Education Vilnius Pedagogical University milda@osf.lt Abstract U.S. DEPARTMENT OF EDUCATION Office of Educational Research and Improvement EDUCATIONAL RESOURCES INFORMATION CENTER (ERIC) Ni(This document has been reproduced as PERMISSION TO REPRODUCE AND received from the person or organization DISSEMINATE THIS MATERIAL HAS originating it. BEEN GRANTED BY Minor changes have been made to improve reproduction quality. M e c. %U.S. DEPARTMENT OF EDUCATION Office of Educational Research and Improvement EDUCATIONAL RESOURCES INFORMATION CENTER (ERIC) Ni(This document has been reproduced as PERMISSION TO REPRODUCE AND received from the person or organization DISSEMINATE THIS MATERIAL HAS originating it. BEEN GRANTED BY Minor changes have been made to improve reproduction quality. M e c. % Points of view or opinions stated in this document do not necessarily represent official OERI position or policy. TO THE EDUCATIONAL RESOURCES INFORMATION CENTER (ERIC) 1 We can suppose on the basis of Vygotskian cultural historical theory that learning of cultural sense and values is not possible without specific dialogic forms of communication. Dialogical drama with puppets is a specific method of revealing basic cultural values for children in preschool age. The method is discussed and analyzed in three stages: 1. Planning stage: the selection of narrative materials (folk tales) and selection of tools for constructing dialogues with the children during the presentation; 2. Drama presentation with puppets: dialogue between the puppets is celibrated according to children's reaction and an open encourage children to communicate with the puppets in dialogue; 3. Children's own presentation of the story with their own puppets: adult-child dialogue creates the setting for children's sense loaded reinterpretation of the story. The trajectory of dialogical construction of sense is illuminated with empirical materials. Introduction The first ideas on the Dialogical Drama with Puppets (DDP) method were born at a professional puppet theatre for children, and while observing communication between the actors and children. The behavior of the children, who were enjoying the performance, demonstrated their immense desire (though, very rarely realized at the theatre) to participate in the process on the stage in one way or another: some children would very much have liked to ask questions about what was going on, to comment loudly; the others to come closer, to touch; some children got tired quickly, then were not able to follow all the events on the stage; the others wanted to get on the stage themselves (to dance or play music); some simply got frightened about something, started crying, etc. Communication in the theatre is collective, where 50 or more spectators come together, and there is no possibility to satisfy individual needs of every single child. The child is often subdued or he is expected to demonstrate 2 BEST COPY AVAILABLE behavior not typical of him. And if there is no adult, who fulfills the needs of a child of this age, a visit to the theatre can hardly bring about a lot of positive emotions in the child (we are talking about 2-4 -years olds). In spite of all the positive and valuable experience that the child acquires during visits to the theatre, especially artistic experience, the lack of personal attitude, absence of dialogue with the child and ignoring of the child as an active participant the educational effect of the remains marginal. Therefore, we may say that the father of the Soviet puppet Obrazcov was right, when he recommended arranging children's visits to the puppet not earlier than at the age of 5. He recommended that 4 year olds should be accompanied by adults and taken only to special performances for small children in a smaller auditorium. Also the age of the children to whom the performance is intended, should be indicated on the tickets, programs and announcements. When I got acquainted with the theater in the kindergarten, I observed a very similar situation. When a puppet performance is arranged in a kindergarten, it resembles one in a professional theater. A play is chosen, dramatized, puppets are produced (which takes time), teachers learn the texts, the play is rehearsed with puppets, and finally, when everything is ready, children are taken into an auditorium, seated and instructed to behave like in a real theatre to stay quiet and be attentive. Even in those cases, where children take part in the performance, the situation is very similar: children also learn the text, learn how to make the puppets move, rehearse, and the performance is shown after all serious preparations have been made. This procedure is somewhat simpler, when the play is performed in a classroom, but even these are most often copies of professional performances. The above practice dominated Lithuania's pre-school institutions and professional theaters, puppet and drama, 10 years ago and it made way for the method of dialogical drama with puppets. Theoretical basis for the method The basis for creating the method were L. Vygotsky's thoughts on children's creativity in general and theatrical creativity in particular (1997), as well as his thoughts further developed by D. Elkonin on the social nature of child's play (1978). Vygotsky noticed, that already in the early childhood vivid creative processes can be observed, and they can best be observed in play. He also distinguished theatrical creativity," @default.
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• W58833798 title "Dialogical Drama with Puppets and Children's Creation of Sense." @default.
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