Subversive Children's Literature - a Puppet Play Georgie and the Three Thieves by Alenka Gerlovič in the Context

The article deals with the puppet play by the painter Alenka Gerlovič (1919–2010), entitled Jurček in trije razbojniki (Jurček (George/Georgie) and the Three Thieves). The play premièred at the Partisan Puppet Theater in 1944 and was published in 1950, with pictures from the puppet show. It is an expression of the author‘s ethical attitude towards Fascism and Nazism and the horrors of war. As the analysis shows, Alenka Gerlovič‘s play places her among the world‘s leading youth writers who have commented on the events of the war. Alenka Gerlovič uses Jurček to create an "imaginary screen" that allowed the audience to maintain a distance from the atrocities in the wartime situation and at the same time to be part of the anti-fascist struggle, also as a symbolic weapon and ethical act.

The relationship between modern education strategies and educational technology

Environmental pollution is one of the concepts which acquired during early childhood, this concept is adherent to exploratory process. Piaget concerned this stage as preoperational age and compensating to preschool age, in this age child haven't got any ability for real thinking but they have got sensible thinking for sensible articles in his living context which is essential for maintaining basic life needs and to communicate through it with others. Kindergarten programs should concentrate on individualize differences by maintaining different or variable environments in order to help child to explore with concerning child's individualize knowledge. In this stage child will have a natural curious for identifying his environment for this reason the recent research trying to study the teaching aids ( story, Puppet theater and films ) in a scientific way in order to make the child acquire environmental pollution concept according to this objective:-Is there any effect for story, Puppet Theater and films for acquirement of environmental pollution concept among kindergarten children in Erbil government, through the following hypothesis:- 1- There are no significant differences at (0.05) between the mean scores of environmental pollution concept assessment for the children in the three experimental and control group at post- test. 2-There is no significant differences at ( 0.05) between the mean scores of the 1st experimental group and second experimental group regarding environmental pollution concept assessment in post-test. 3-There are no significant differences at (0.05) between the mean scores of first and third experimental groups regarding assessment of environmental pollution concept at post-test. 4- There are no significant differences at (0.05) between mean scores of second and third experimental groups regarding assessment of environmental pollution concept at post-test. The researcher depended on the experimental design with experimental groups and control group and the pre- post test. The study was conducted in Erbil kindergartens on sample of 100 child, whose age were between (4-5) years, they divided into four groups, 25 child in each group

History of the Uzbek National Puppet Theater

This article examines the evolution of the formation and development of the art of scenography of puppet theaters in Uzbekistan, the factors of their development during the period of Independence on the example of the National Puppet Theater of Uzbekistan. In shaping the worldview of the young generation, which is the future of our country, modern puppet theater plays a leading role in educating them towards spiritual maturity. Today, a lot of attention is paid to this field of art, and a number of decisions are made for the development of the industry. The main idea of the independence of our country is to help the future generation to grow up spiritually mature, patriotic and educated with all our might. Puppet theater directing, dramaturgy, acting skills, and especially scenography are important with their unique solutions. The reason is that the development trends of modern puppet theater directing and scenography are considered on the basis of three periods, firstly, critical thinking, secondly, religious and mythological themes in the national spirit, and thirdly, analysis of contemporary works.

Beautiful, Truth, Imaginary in the art of puppet theater - THE INSECT CIRCUS by String Theater

One of the shows invited to attend the 14th Edition of the Iaşi International Theater Festival for Young Audiences (FITPTI), outstanding performance with classic short string puppetry, was performed at the Small Hall of the Luceafărul Theater by String Theater from Great Britain. The London Company relies on the charm of the long strings animating techniques for puppets, maneuvered (manipulated) from a height. The Company started the activity in London, 2011, the founders are Soledad Zarate and Stan Middleton, descendants of several generations of artists specializing in the management and promotion of this type of theater, with Elizabethan roots and fresh puppet infusions. The Insect Circus is a gem show, a demonstration of mastery in the art of puppet handling. A performance that overturns prejudices related to this type of theater, but also a sample of good practice, an example of how the tenderness and clumsiness of these irresistible actors on strings can be enhanced.

Dychotomy of the phenomenal and semiotic bodies of the performer in the context of a theater without an actor

modern theatrical art and to reveal the features of the phenomenal and semiotic body of the performer in theater performances without an actor. Research methodology. A synergetic method is applied, due to which the essence of the dichotomy of the phenomenal and semiotic body of the performer and the mechanism of its transformation in the process of transition from traditional theater to the theater without an actor is considered; a systemic method for analyzing the phenomenal and semiotic body of the performer as a manifestation of integrity in the unity of all connections and relationships; the method of comparative analysis, which contributed to the comparison of the ways of perception and understanding by the spectator of the semantic content of the stage performance in the traditional, puppet theater and theater without an actor, etc. Scientific novelty. The problems of theater without an actor are considered in the context of the theory of body dichotomy by B.S. Turner and the model of the alternation of the phenomenal and semiotic body of the performer in the post-dramatic theater E. Fischer-Lichte; the absence of actors as traditional components of the stage production of the play is theoretically substantiated; it was found that, despite the absence of performers, a theater without an actor is a unique phenomenon of modern theatrical art, realized due to the dichotomy of the phenomenal-semiotic nature of the actor's corporeality. Conclusions. The study revealed that the dichotomy of the phenomenal and semiotic body of an actor is a meaningful tool for studying the interpretation of various types of modern theater. Based on the analysis of theater performances without an actor ("Feng Shui in a theater without an actor" B. Bulatovic, A. Mustar and J. Šimenc, Slovenia, Ljubljana, Cultural Center "Španski borci", 2011, etc.) it was found that in the absence of the phenomenal body of the actor in the stage action, scenography and props become the material vehicle of the semiotic body. Destroying traditions and moving away from the "actor - spectator" attitude, depriving the viewer of an actor of a person, theatrical figures strive for contemplation, open new horizons for the theater, which can cause unusual sensations and feelings.

ADAPTATION OF THE CHILD AT KINDER GARTEN – „MY FRIEND PINOCCHIO VISITING ME AT MY HOUSE”

Children’s play helps to gain sensory cognitive and motor experience, which is the basis for the development of emotional intelligent. Toys occupy an important place in the child’s play – not only as tools for its realization, but also as a means of expressing various social roles and relationships, through puppet theater and in particular the plush doll Pinocchio. The activities with the doll contributed to the development of the child’s intellect and the formation of a creative personality and healthy habits, knowledge about road safety and the various professions. Puppetry can help to create a number of everyday habits. The Pinocchio toy gave the children a sense of the magic of puppetry. Building trust by involving parents in the activities of teachers and children on the project and diversifying the forms of cooperation with the parent community and strengthening the relationship between the kindergarten and the institution „family“. The activities in the communication through the doll created conditions for easier adaptation of the children 3-4 years of age when entering the kindergarten.

Le Sous-Psychodrame : une nouvelle forme dramatique de Jean-Luc Lagarce

"The Sub-Psychodrama: a New Dramatic Form by Jean-Luc Lagarce. It is exactly by a neologism of a “sub-psychodrama” that the playwright and French director Jean-Luc Lagarce (1957-1995) defined one of his plays. The similarities between psychodramatic practices and Lagarce’s dramatic works are obvious. As in the context of psychodramatic practice, Lagarce’s characters take on roles and identify with them from a carnal as well as linguistic point of view. The situation in which Lagarce’s characters meet is very close to that which is, among others, treated by psychodramatists: the dialogue is not initialized, the individuals are stuck in their reproaches and focus only on their own points of view. Lagarce’s characters use the theatricalization, the putting in voice of a dramatic text of one of them in order to launch the speech that awaited this moment of expression. The sub-psychodrama, while being a poetic and dramatic concept of Lagarce, reveals the dialogical malaise in the contemporary society that the sub-psychodrama quotes while highlighting the complex mechanisms of the intersubjective perception as well as the mechanisms of our individual and collective memory. Both reflective self-perception, which goes from oneself to oneself, and transitive perception, which goes from oneself to the other or from the other to oneself – in the context of a speech act. The sub-psychodrama presents itself, therefore, as a dialogical and perceptive field of battle where the spoken word is in search of its answer. The sub-psychodrama invented and developed by Lagarce puts the concept of paper beings – linguistic puppets – at the same level, while promoting the coalition of puppet theater and word drama. Keywords: Lagarce, contemporary French drama, word drama, psychodrama, sub-psychodrama. "