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Target: Introducing children to the professions of people performing in the circus.

Tasks:

Educational:

• Enrich and expand children's knowledge about the professions of people performing in the circus, provide them with the opportunity to feel the significance of each profession.
• Continue to enrich and activate children's vocabulary, develop their speech.
• Practice the ability to convey various emotions using facial expressions and gestures.

Educational:

• To develop children's creative independence in creating an artistic image.
• Develop memory, thinking, imagination, emotional responsiveness.

Educational:

• To instill in children respect for artists performing in the circus.

Vocabulary work: illusionist, tightrope walker.

Methods and techniques used in the lesson:

• Verbal: teacher’s story, conversation, literary word.
• Visual: slide show with images of circus performers.
• Practical: exercises to practice facial expressions and gestures.

Methods of stimulating and motivating children's activities: verbal encouragement, play motivation.

Preliminary work:

• Conversation with children about the professions of people performing in the circus.
• Examination of illustrations and photographs depicting circus performers.
• Conducting exercises to develop various emotions in children.
• Production of tickets, posters, performance programs.
• Decoration of the hall.

Materials and equipment:

• Multimedia system;
• Musical accompaniment;
• Photographs depicting circus performers;

Progress of the lesson

The bell rings and an audio recording of the song “Circus, Circus, Circus” plays.

1. Game motivation. (clown) slide show 1

Circus on stage, circus on stage,
Here is the clown in the arena.
Hello guys,
Girls and boys!
Hello all honest people!
You recognized me?

Clown: I am the clown Goshik! An extraordinary performance awaits us today. Which one do you think?

Clown: That's right, circus. Do you want to participate in it? Let's talk about the circus first.

Circus is a type of entertainment art, according to the laws of which an entertaining performance is built, usually in the arena of a special building (round in shape with a high dome). The basis of circus art is considered to be the demonstration of the unusual (eccentric) and funny.

2. Story-conversation between the teacher and the children.

Circus performers perform in the building. It can be built of brick, or it can be mobile and is called Shapito.

Show slides 2 and 3.

And all performances take place in the arena. Show slide 4

The circus arena is round, the radius of the arena is consistently thirteen meters. Human life is by nature subordinated to a circle: the sun is a circle, the earth is round, the wheel, the basis of civilization, is also a circle. The circus, like a miniature model of the universe, is the same constant circle .

How do you think people learn about a circus performance? (from the poster)

Show slide 5 and 6

Clown: Tell me, people, what professions perform in the circus?

Clown: Well done boys! I want to talk about them today.

Clown: Guys, do you recognize these artists? That's right, these are trapeze artists. They are real athletes performing various exercises on high altitude under the circus dome. Look how flexible and flexible they are, and what brave people they are. Do you agree that they are brave?

Show slides 7, 8, 9 with images of trapeze artists. Conversation about the profession of a gymnast.

Circus gymnastics is a genre whose essence is to demonstrate in an artistic and figurative form the achievements of the physical development of the human body. In this case, gymnastic equipment used in the circus is used.

A gymnast hangs from his teeth,
How toothy he is!
Such a gymnast would be
Sell ​​toothpaste!

Show 10 (clown) Do you know that not only people, but also animals perform in the circus.

Clown: Guys, tell me, who trains the animals in the circus? (trainer)

Show slide 11

TRAINING - A circus genre based on the display of animals, beasts, birds performing various actions, achieved as a result of developing their persistent conditioned reflexes to the trainer's commands.

The cage doors opened.
The animals enter one after another.
Mary cracks her whip.
The lion beats his tail angrily.

Clown: The trainer works with different animals. They usually take animals in when they are still babies, take care of them, educate them, know the habits of animals well and love them very much.

Show slide 12

The people in the circus managed to get away with it
Train a bear to do laundry.
A sea ​​turtle -
Iron a washed shirt.

Clown: These are very patient, brave people. Can you imagine, guys, they are not afraid to enter a cage with tigers, what brave people they are. Trained animals understand and love their owner-friend and fulfill his requirements.

Physical exercise: “Animal exercise.”

Once - squat,
Two - jump.
This is a rabbit exercise.
How can the little foxes wake up? (Rub your eyes with your fists)
They like to stretch for a long time (stretch)
Be sure to yawn (yawn, covering your mouth with your palm)
Well, wag your tail (movement of hips to the sides)
And the wolf cubs arch their backs (bend your back forward)
And jump lightly (light jump up)
Well, the bear is clubfooted (arms bent at the elbows, palms connected below the waist)
Paws spread wide (feet shoulder width apart)
Either one or both together (stepping one foot on the other)
Marks time for a long time (swinging the body to the sides)
And for whom charging is not enough -
Starts all over again! (spread your arms to the sides at waist level, palms up)

Show slide 13 and 14 (athletes)

ATHLETICS - A circus genre in which the demonstration of well-developed muscles and stunt exercises with weights (weights, cores, barbells, etc.) are shown by the artist in an artistic and figurative form as a celebration of the power of man, his physical and spiritual qualities.

The only ones in the world
Strongman athletes
Throwing weights
Like children's balls.

Show slide 15. And now I want to tell you, try to guess who? (reads a verse)

As soon as I go out, -
And you can hear laughter!
I can make everyone laugh.
You can barely see my cap
There is no way to be serious!
Well done! About my clown friends.

Slide show 16, 17

CLOWN - A traditional circus character who performs comic reprises and comic skits.

Educator: Guys, people of different professions work in the circus. They are specially trained for these professions. These are brave, determined and kind people. With their work they bring joy, fun and good mood to the audience.

3. Conducting exercises to practice facial expressions and gestures.

Educator: Guys, do you want to turn into circus performers and take part in a circus performance?

Educator: But you have to work hard for this. Circus performers rehearse a lot, practicing movements, facial expressions, and gestures. Please show me what a clown's face looks like when he is sad (surprised, angry, happy).

Children perform facial exercises.

Educator: Well done boys! It turns out like real clowns. And now, I will say the task, and you try to show me them with a gesture: “how a clown greets,” “how he bows,” “how he says goodbye to the public.” Well done, you completed the task, now you are real artists who are ready to perform in the arena of our circus.

Clown: Guys, look, I’ll show you something now.

During class, the teacher shows the children a trick.

To perform the trick you need a glass vase, a rubber ball, and a string. Cover a glass vase with a narrow neck with dark gouache on the inside. You need to push the ball into the vase.

Showing focus.

We lower one end of the rope into the vase. We make “magic” movements with our hands, turn the vase upside down, the rope from the vase does not fall (it is held by the ball inside the vase). The focus worked.

The teacher can show any trick during the lesson.

Educator: Guys, what is the name of what I did just now?

I am a fakir and a sorcerer!
Two hundred years of my turban!
Everything in the world is within the power of a magician,
Everything in the world is within my reach.
I can show tricks
I'll show you anything.

Show slide 18.

ILLUSIONIST - An artist who demonstrates various tricks using special props, devices equipped with secret devices hidden from the audience. Namely: intricate appearances, disappearances, transformations, movements of various objects, animals, people, based on optical illusion, the use of distracting maneuvers and the dexterity of the performer himself and his assistants.

Today the circus is fully assembled:
Chinese magician, juggler,
Participates in the program -
He juggles balls.

He throws it into the air,
And he catches it right away
Twelve balls
And a Chinese vase.

Colored glasses
He puts it on the plate.
And along with the tray
Dishes fly up.

He throws it into the air
Any items:
Balls and rockets
Flags and bouquets,
Colored glasses and saucers,
And everyone claps and laughs.

Show slides 19, 20.

After watching, the teacher suggests a game with the ball “Pass it and don’t drop it” (in a circle)

Educator: The clown Gosha’s story about the circus ends equilibrist.

Lady on the Wire
It goes like a telegram.

EQUILIBRISTICS - A circus genre based on demonstrating the art of maintaining balance in various conditions, complicated by the use of special props and equipment.

Show slides 21, 22, 23, 24.

Show slide 25.

Now it's time to say goodbye.

Today in a circus performance you saw (children list) funny clowns, tightrope walkers, a magician, a trainer, etc.

The teacher invites the children to play Circus.

Children choose a role as desired, go backstage and prepare for the performance.

Conducting a performance.

Description of the presentation by individual slides:

1 slide

Slide description:

2 slide

Slide description:

Circus (from the Latin circus - circle, circle) is one of the most beloved forms of art. At the heart of circus art is a trick - an action that is difficult to perform and emotionally impressive. The totality of such trick actions in combination with music, choreography, words, and external design forms circus act, and their connection is a program; if there is a plot outline - a circus performance.

3 slide

Slide description:

Like the theater, it arose from the labor, ritual, and military activities of people (see article “ Oldest forms theatrical performances"). In Europe XI - XVI centuries. In the fairgrounds, traveling comedians entertained the people. In a circle formed by spectators, the artists showed their skills in acrobatics, gymnastics, juggling, and acted out comic scenes. From the 16th century In Europe, riding schools became widespread - the origins of one of the types of the future circus - the equestrian circus.

4 slide

Slide description:

From the middle of the 18th century. appears graduate School horse riding, where masterful control of a horse and the art of horse training reach special perfection. Riders are put forward - riders, trainers, who, at the head of small equestrian acrobatic groups, perform in temporary arenas for the public.

5 slide

Slide description:

In 1770, the former English cavalryman Philip Astley (1742 - 1814) built a Riding School in London, which he transformed in 1780 into a special “Astley Amphitheater”. Historians trace the beginning of the modern professional circus to him. In the same year, Astley built a branch of this school - the "English Amphitheater of the Faubourg Temple" in the Paris area. In addition to equestrian performances, the program included performances by acrobats, gymnasts, and clowns; pantomimes were staged. Pantomimes became widespread in the 19th century, attracting with plots that responded to major events of his time

6 slide

Slide description:

How did the professional circus develop in Russia? IN early XIX V. most circus entrepreneurs and performers were foreigners. From the second half of the 19th century V. domestic circuses appear. The creators of the first Russian circus were the brothers Akim (1843 - 1917), Dmitry (1835 - 1918) and Peter (1846 - 1921) Nikitin, who came from the family of the former serf Alexander Nikitin. They began their journey as artists, performing on the streets to the music of a barrel organ played by their father. In 1873, they opened a small circus in Penza, which was a success. A.A. Nikitin Circus on the former Ekaterinoslavskaya Street. Kharkov A.A. Nikitin (1843-1917)

7 slide

Slide description:

In the Russian circuses of that period (S. Ciniselli in St. Petersburg, A. Salamonsky in Moscow, on Tsvetnoy Boulevard, Truzzi in large provincial cities), entire generations of outstanding Russian artists were formed, many of whom later wrote memorable pages in the history of the Soviet circus. These are the famous satirical clowns, trainers brothers Vladimir Leonidovich (1863 - 1934) and Anatoly Leonidovich (1864 - 1916) Durovs How did the professional circus develop in Russia?

8 slide

Slide description:

Great success The public enjoyed the performances of Vitaly Efimovich Lazarenko (1890 - 1939). He combined satirical clown acts with acrobatics. Popular in the Russian circus, next to the Durovs and Lazarenkos, were the Alperov clowns, the Tahiti brothers, and Bim-Bom. Russian artists in all genres performed successfully at the country's arenas. Among them were the widely known tightrope walker F. F. Molodtsov, horsemen of various profiles: the Gamsakhurdia family, P. S. Krutikov, V. T. Sobolevsky, N. L. Sychev, P. A. Fedoseevsky; athletes and wrestlers: I. M. Poddubny, I. M. Zaikin, N. A. Vakhturov, P. F. Krylov, I. V. Shemyakin, who emerged victorious from competitions with famous world and European champions; acrobats Vinkins; cyclist figure skaters Podrezov (on the Poldi stage); jugglers K. and M. Pashchenko, juggler on horse N. A. Nikitin and others. How did the professional circus develop in Russia?

Slide 9

Slide description:

October Revolution- a historical milestone in the history of the Russian circus, which marked a sharp turn in the organization creative activity arena masters. In January 1919, a Circus Section was created in the theater department of the People's Commissariat for Education. On August 26, 1919, V.I. Lenin signed the Decree of the Council of People's Commissars “On the unification of the theatrical business.” Having announced the nationalization of circuses, the decree forever predetermined the democratic essence of the circus as an art form, which, along with theaters, is necessary for the people and needs the constant organizational and ideological and creative leadership of the Soviet state. Indeed, the USSR circus has become a qualitatively new phenomenon. How did the professional circus develop in Russia? Acrobatic tightrope walkers N. and P. Mayatsky

The new circus was a round hall in which various horse exercises and acrobatic tricks were shown. The audience really appreciates this

When a traveling circus comes to a city, posters are posted on the streets announcing where and when the performance will take place. You can buy tickets

During the performance, the presenter calls the names of the artists and animals who will perform. Each circus shows its own attraction

Gymnasts are very flexible and can do incredibly complex movements. This gymnast performs a handstand and shoots an arrow with her feet.

This is an aerialist on a ring. The ring is suspended very high above the arena. So that the girl does not get injured if she falls, I pull the bottom

In ancient Rome, gladiator warriors fought wild animals in the arena. Later, tigers and lions began to be trained, and this is how the profession of ukro appeared.

Different animals can be wonderful artists: cats, dogs, monkeys, mice, pigeons and even elephants!

Clowns are artists who perform funny acts. Clowns perform funny skits and play musical instruments. While the artist

The task of an equilibrist is to maintain balance on unstable objects. This artist not only easily stands on five cylinders, but also at the same time

Only trained gymnasts can rotate several gymnastic hoops at once and not drop any of them. This exercise is called hu

Many circus performers perform with entire families. Often children in such families continue the work of their parents and become circus performers. D

Slide 2: The structure of the Roman theater

The Roman theater arose when the patriarchal-tribal system decomposed. He did not know the social and round dance forms of the Greek theater and did not rely on the amateur performances of the urban population. The Roman theater was immediately professional. Roman theater was not associated with the cult of a deity, as in Greece, so it did not have the same social significance. The actors were not respected people, but despised people. They were recruited from among slaves and freedmen and could be beaten for poor performance.

Slide 3

Reconstruction of the ancient Roman Theater of Marcellus

Slide 4

Performances were staged in honor of public holidays, as well as at any other time on the initiative of one of the noble citizens. For a long time there were no permanent theater buildings in Rome. For performances, special temporary wooden structures were built, which were broken down at the end of the performance. The first permanent stone theater was built around 55 BC. commander Gnaeus Pompey the Great and accommodated 17 thousand spectators. By the end of the 1st century. BC. Two more theaters appeared in Rome, accommodating up to 45 thousand spectators. The building became uniform in height - three storeys. The spectators in the theater were cooled by a water pipe. The theater in Rome had a curtain; Before the start of the performance, it was lowered in front of the stage area.

Slide 5

The birth of the main genres of Roman literature was associated with imitation of Greek and Hellenistic models. The works of the first Roman playwright, Livius Andronicus (c. 280–207 BC), were adaptations of Greek tragedies of the 5th century. BC, like most of the writings of his followers Gnaeus Naevius (c. 270–201 BC) and Quintus Ennius (239–169 BC). At the same time, Gnaeus Naevius is credited with creating the Roman national drama - pretexts (Romulus, Clastidia); his work was continued by Ennius (The Rape of the Sabine Women) and Actium (170 - ca. 85 BC), who completely abandoned mythological subjects (Brutus).

Slide 6

Andronicus and Naevius are also considered the first Roman comedians who created the genre of palleata (Latin comedy based on a Greek plot); Naevius took material from Old Attic comedies, but supplemented it with Roman realities. The heyday of palleata is associated with the work of Plautus (mid-3rd century - 184 BC) and Terence (c. 195-159 BC), who were already guided by Neo-Attic comedy, especially Menander; they actively developed everyday topics (conflicts between fathers and children, lovers and pimps, debtors and moneylenders, problems of education and attitudes towards women).

Slide 7

In the second half of the 2nd century. BC. the Roman national comedy (togata) was born; Afranius stood at its origins; in the first half of the 1st century. BC. Titinius and Atta worked in this genre; they depicted the life of the lower classes and ridiculed the decline of morals. At the end of the 2nd century. BC. literary form also received an atellan (Pomponius, Novius); now they began to play it after the performance of the tragedy for the entertainment of the audience; She often parodied mythological stories; The mask of an old rich miser, thirsty for positions, acquired special significance in her. At the same time, thanks to Lucilius (180–102 BC), satire turned into a special literary genre- satirical dialogue.

Slide 8: Circus

In Rome, largest city antiquity, there were seven circuses. All of them were structured almost identically, but the most extensive and oldest of them was the so-called Great Circus. This circus was located in a valley formed by two hills - the Palatine and the Aventine. The main performance was horse and chariot racing. According to legend, such races were established by one of the founders of Rome, Romulus. Later, about 600 BC, the first wooden circus was built in this valley. Over the centuries, it expanded more and more, was decorated with marble, bronze, and by the beginning of our era it had become a grandiose hippodrome, designed for 150 thousand spectators.

Slide 9

In terms of its structure, the Circus Maximus was primarily a rectangular arena in plan. Along its entire length, on both sides there were raised rows of seats for the public. A curious feature of the circus arena was the back - a wide (6 meters) and low (1.5 meters) stone wall, which, like a ridge, divided the arena into two halves. Tourists coming to Rome from different countries, and still admire the ruins of the Colosseum, which was once a huge amphitheater - with a circumference of more than 500 meters and a capacity of about 50 thousand people. The Colosseum itself was called in ancient times the Flavian Amphitheater - after the family name of the emperors Vespasian, Titus and Domitian, under whom this monumental spectacular structure was created.

10

Slide 10

In the Roman circus, not only the winning drivers received awards, but also the winning horses. People received money and expensive clothes, and both people and horses received palm branches and wreaths (also rewards). Gladiator fights were also public spectacles, reaching an extraordinary scale under the Roman emperors (for example, Augustus organized gladiator fights eight times, with 10 thousand people participating). One of the favorite gladiatorial fights among spectators was the so-called fishing. The first of them, armed with a sword and a shield, wore an image of a fish on his helmet. The second used a sharpened trident as a weapon and was equipped with a metal net). The goal of the “game” was that the retiarius had to entangle the enemy with a net, knock him to the ground and, if the spectators wished, finish off the “fish” with a trident; the other’s task was to escape unharmed from the “fisherman” and at the first convenient moment to hit him with a sword...

11

Slide 11

The gladiators' armor, beautiful in appearance, left large areas of the body unprotected: the fighters were obliged to entertain the audience with their wounds, blood, and finally death, which increased the public's interest in the fight. It goes without saying that gladiators were well trained in the arts of fencing and hand-to-hand combat. They learned this in gladiatorial barracks schools (both private and imperial), where cruel cane discipline reigned - right up to beating to death. First of all, gladiators were prisoners of war (“barbarians,” as the Romans contemptuously called them.

12

Slide 12

The fate of the gladiators was difficult, but it was even worse for the bestiaries (animal fighters) who fought wild animals - boars, bears, panthers, lions. In Rome there was a special school for them, but most often convicts acted as bestiaries. They were released into the arena almost unarmed - with a short sword or a light spear. In addition to such “spectacles,” animal persecution took place in the Colosseum. A rhinoceros was forced to fight with an elephant, a panther with a bull, and a bear with a wild boar. They were often tied in pairs with lassoes, and the spectators went into frantic delight when the animals began to torment each other.

13

Slide 13

In the same Colosseum, trained animals were shown: lions caught hares and released them unharmed, elephants danced and, according to Roman custom, reclined at tables with food; In the Great Circus, gymnast competitions, running runs, fist fights, and discus throwing were held. These shows did not cause delight among the expansive Roman public and little by little they faded away altogether, as they did not satisfy the principles of the same notorious policy - “bread and circuses”... Such were circuses and circus shows in Ancient Rome. Thus, the art of the circus was born in blood and pain.

14

Slide 14

Musical art Ancient Rome

15

Slide 15

At the end of antiquity, Rome played a large role in the musical life of slave society. IN musical art This huge colonial empire reflected its wealth, the antiquity of culture, the artistic talent of the people and at the same time the ever more rapidly approaching decline and decomposition of the slave-owning world.

16

Slide 16

The Roman capital lived a noisy and luxurious life, however, superficial musical life. Music accompanied magnificent spectacles and bloody circus competitions