Kids reenact: Kids Reenact (TV Series 2009– )

Kids Reenact (TV Series 2009– )

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A Featured Comedic Television Series.A Featured Comedic Television Series.A Featured Comedic Television Series.

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  • Paul Briganti
  • Saj Pothiawala
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  • Breanna Lakatos
  • Leana Vicente

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By Joe Berkowitz1 minute Read

We’ve already had a look at some of the various ways folks have countered the all-consuming prestige of the Oscars by poking fun at the Best Picture nominees’ posters. Now there’s a video that deflates whole scenes from these films by presenting with reenactments performed by children.

“Kid Oscars” takes all of the gravity out of Gravity (and its competitors) by having little ones do augmented versions of some of the clips we’ll probably seeing during the ceremony. Created by CineFix, taking over for Official Comedy, which made last year’s edition, “Kid Oscars” mostly sticks to the script, but veers off course in childlike fashion that extends beyond an over-reliance on cue cards. For instance, though it’s a paraphrase of actual Captain Phillips dialogue, the joy with which Best Supporting Actor nominee Barkhad Abdi’s young proxy reports “I’m a pirate!” is palpable.

The scenes selection is pretty funny all around, often for how inappropriate the scenes are for children–either emotionally or because of exceedingly adult themes. The concern and care on Christian Bale’s face in the opening scene of American Hustle as he goes through the torturous ritual of assembling his fragile remnants of hair into something that still resembles a lawnmower accident–this is not something a child should or even can possibly mimic. And yet here it is! The folks at CineFix are clearly aware of this discrepancy, however, and even comment on it eventually. A brief depiction of 12 Years a Slave ends when one of the kid actors breaks the fourth wall to report, “This is the only scene the producers were comfortable shooting with kids.”

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The role of the educator in the development of role-playing games for children

Everyone remembers the animated series Masha and the Bear, where the main character runs after the Bear and shouts: “Play with me! Play with me!” As conceived by the authors, apparently, the bear is an image of a teacher who does not want to play with the child.
Meanwhile, with the introduction of the Federal State Educational Standard, the kindergarten revives its good traditions, first of all, the game returns as a leading activity. “The conditions necessary to create a social situation for the development of children involve … building a variant developmental education . .. through supporting the spontaneous play of children, enriching it, providing play time and space” (clause 3.2.5.)
Psychological and pedagogical studies of children’s play show that as soon as a child is born, he is taught. Anything: to count, to read, to distinguish between certain geometric shapes… The result is obvious – children are deprived of their childhood and natural development. Of course, you can’t do without training, but his place is second, the game should be in the first place.
According to V.M. Grigoriev, modern children “began to play not less, but worse.” At present, in the absence of yards, older sisters and brothers, who, if not a teacher, should introduce children to interesting games?! The statement “It is necessary to teach children to play” has become generally accepted. And the teacher teaches: sets the topic, builds a game, distributes roles, develops the plot, evaluates the actions of children. Thus, the independence, initiative and creativity of children are superseded by the too direct influence of an adult. A set of attributes clearly selected for each game appears in the group, a scenario played out with the teacher, the children reproduce it, making only minor adjustments. Such games cease to arouse interest in children.
How to make sure that children play with pleasure and, at the same time, the game performs its educational and developmental functions?
The success of the role-playing game depends on the organizational activities of the teacher.
After all, everyone knows: in order to teach children to read, count, sculpt, draw, the teacher himself must be able to do all this. An illiterate person would not even think of teaching another to read and write. The educator cannot teach children to play if he himself does not own the game “literacy”, the game culture.
The teacher should be able to accept the suggestions of the children in the process of the game in time, continue the child’s game action in terms of meaning, introduce a new character, finish building, deploy the event proposed by the child, freely operate with elements of game plots – events, characters (roles), their actions, be able to work with children of each age develop plots, the very structure of which facilitates the child’s assimilation of new playing methods and skills.
The process of managing a role-playing game should be built in such a way that the formation of playing skills and abilities is organically combined with training and education, including labor education. Based on this, three groups of methods can be distinguished:
I group of methods is associated with enriching children with knowledge, impressions, ideas about the life around them. These include observations, excursions, meetings with people of different professions; reading works of fiction; conversation – a story using illustrations, photographs, paintings, reproductions; dramatization of literary works; ethical conversations, presentations, participation of children in projects.
II group of methods. Methods that contribute to the formation and development of gaming activities. Among them, an important place is occupied by the direct participation of the educator in the creative game, the performance of a leading or secondary role. In addition, the teacher helps children in the implementation of the knowledge gained in the classroom, through suggestions, reminders, advice, selection of game material, conversations – talking about the idea of ​​the game, distribution of roles, summing up.
III group of methods is associated with teaching children how to design from building materials, play with buildings and make toys. This is the construction of buildings together with children, examining the model of the educator, showing design techniques, using photographs of children’s buildings, diagrams and drawings of buildings.

N. Ya. Mikhailenko and N. A. Korotkova formulated the principles of organizing a role-playing game in a preschool educational institution.
1. The teacher must play with the children. At the same time, he takes the position of an emotional partner who knows how to play interestingly, with whom the child feels on an equal footing, feels himself beyond assessment, and takes the initiative.
2. The teacher should play with children throughout preschool childhood, but at each stage the game should be deployed in such a way that children immediately discover and learn a new, more complex way of building it.
3. Starting from an early age and further at each stage of preschool childhood, it is necessary, when developing playing skills, to simultaneously orient the child both to the implementation of a game action and to explaining its meaning to partners – an adult or a peer.
As you know, one of the important conditions for the activation of independent play of children is the provision of appropriate play material, toys. Children should be provided at any age with time, place and material for independent play.
Both in joint play with children and in creating conditions for their independent activity, it is completely unacceptable on the part of an adult forcing, imposing topics, game roles, forms of play (individual or joint). Children should not have the feeling that in kindergarten “you have to play as you are told, and not as you want.”
Let’s consider some tricks using the example of the game “COSMOS” in the senior group.
But first, I suggest you consider the situation described by D. B. Elkonin.

Analysis of the situation (Experimental situation described by D. B. Elkonin)
“The teacher of the preparatory group organized an excursion to the zoo for the children, during which she introduced the children to different animals – their appearance, habits, lifestyle, etc. At the end of the tour, she talked with the children about the animals they observed at the zoo, introduced toys of these animals into the group, expecting them to start playing at the Zoo. However, the children did not play the game planned by the teacher either on the first or on the following days.
Then the teacher repeated the excursion to the same zoo. But during the second excursion, she introduced the children not only to animals, but also to the activities of zoo employees: the cashier sells tickets, the controller checks them and lets visitors through, employees who feed and care for animals, a veterinarian treats sick animals, vaccinates them, the guide tells visitors about animals, etc. On the same day, the children organized a game in the “Zoo” in the group. Gradually, new characters were introduced into the game, the plot became more complicated”

– Why do you think the game didn’t work after the first tour?
The first is the sphere of objects (things), both natural and man-made; the second is the sphere of activity of people and their relations.
The expansion of the child’s ideas about the surrounding reality has a decisive influence on the development of the plot of the game. However, not every acquaintance with the environment encourages the child to play. For example, observation of plants, natural phenomena, animals, transport, cars develop children’s ideas about the environment, but do not significantly affect the development of the game. A role-playing game arises and develops, first of all, when a person, his activities, actions, relationships (a person takes care of animals, feeds them, heals; takes care of other people, drives transport, etc. ) p.)

Therefore, at the preparatory stage, we tried to talk more about the game actions of each role:
– the captain of the ship – recruits a team, gives orders on board, keeps in touch with the flight instructor, communicates with reporters;
– cosmonauts – fly into space, follow the orders of the captain of the ship, get in touch with the Earth, participate in the conference;
– flight instructor – directs the flight from the cosmodrome;
– aliens – observe the actions of the astronauts, come into contact with them, negotiate in an incomprehensible language, one or more aliens fly to the cosmodrome along with the astronauts;
– reporters – report, communicate with astronauts, participate in the conference;
– honey. staff – spend honey. examination of the ship’s crew and aliens;
– relatives – see off and meet astronauts, organize a concert, participate in reports.
– flight engineer – carefully monitors the readings of the instruments of the flight control and docking console.
-dispatcher – receives information from space and transmits it to the ship.

An important role is played by the enrichment of children’s speech with role-playing dialogues.
For example:
Flight Director Ship Captain
– Cosmonauts, take your seats! – Have a seat!
– Fasten belts! – Gotta fasten your seat belts!
– Is the crew ready for space flight? – The crew is ready to fly into space!
– Attention! There are 5 minutes left before launch. 5-4-3-2-1 Start! – There is a “start”! 2 minutes – normal flight! 5 minutes – normal flight!

– Attention! Attention! Report what you see.

The educator should always be ready with several options for the development of the game: a ship breakdown, an astronaut fell ill, a space walk, a meeting with aliens.
At each stage, the game should be developed in such a way that the children immediately discover and learn a new, more complex way of building it.
By the age of five, children have formed such ways of constructing a role-playing game as a conditional action with toys, role-playing behavior. What is needed for the further development of children’s play? One of the lines of development of the story game of an older preschooler is a fantasy game.

According to experts, the most common word in GEF is initiative.
And what is better than a game – fantasizing can develop imagination, creativity, initiative? As L. S. Vygotsky wrote, “a child’s play is not a simple recollection of what he has experienced, but a creative processing of the experienced impressions, combining them and building a new reality out of them that meets the needs and inclinations of the child himself.”
In the space-themed game, the space for fantasy is endless. Going out for a walk around the planet, we can meet with unearthly creatures, amazing adventures. But in order for the plot to be completed, it is necessary to properly build work with children. The TRIZ program helps me with this.
Section of the manual No. 4 “Teaching preschoolers to compose texts of fairy tale content” contains algorithms for organizing the mental activity of children to develop their abilities to compose fairy tales of various types. Various models for composing fairy tales are offered:
• a model for compiling a fairy tale using the “Catalogue” method,
• a model for compiling a fairy tale using the Morphological Analysis method,
• a model for compiling a fairy tale using the “System Operator” method,
• a model for compiling a fairy tale using the “Magic Triangle” method
• a model for composing a fairy tale with the help of TFT (typical fantasy techniques)

I use the following model for composing a plot:

Once upon a time Who was there?
He was What?
The hero went Where?
Whom did you meet there?
Did together What?
Learned about what?
Let’s go together Where?
Everything is over Good

The game lasts 10-15 minutes. The teacher must lead the game emotionally. In such games, there are also observers who partially learn skills. From fairy tales, you can move on to real life events. The child uses the acquired skills in independent games, making them consistent and varied.
It is very important to finish the game correctly. A number of researchers of the problems of children’s play are of the opinion that the pedagogical value of the game largely depends on providing the opportunity to “finish the game”, that is, not to interrupt the game until the task is solved (the ship “sailed” to the port, the astronauts “landed” and etc.). Otherwise, children are left with a feeling of dissatisfaction, insoluble tension, which can prevent the formation of valuable moral motives and negate all the positive effects of the game on the individual.
We must not forget about the last stage – the evaluation of the game. Find out the opinion of children: what they liked, what they didn’t. How will we play next time?
So, returning from space travel, we are met by journalists. They ask us about what we saw interesting, how we feel, etc.

If a child organized a game based on a certain plot, it means that the performances received turned out to be vivid and caused an emotional response. So you did everything right!
I wish you success!!!

List of sources used

2. “Methodological recommendations for the program of education and training in kindergarten” / Edited by M. A. Vasilyeva, V. V. Gerbova, T. S. Komarova /
3. N. Ya. Mikhailenko N. A. Korotkova “Organization of play in kindergarten”
4. Elena Yange “Role-playing games for children”
5. http://dohcolonoc.ru/metodicheskie-razrabotki/6070-uchebno-metodicheskaya-razrabotka.html

Features of the role-playing game in preschool age

Continued. (beginning: What is a role-playing game?)

Preschool childhood is the most important period in the development of a person. During these years, the child acquires initial knowledge about the life around him, he begins to form a certain attitude towards people, to work, skills and habits of correct behavior are developed, and character develops. The main activity of preschool children is the game, in which the spiritual and physical strength of the child develops; his attention, memory, imagination, discipline, dexterity. In addition, the game is a peculiar way of assimilation of social experience, characteristic of preschool age. All aspects of the child’s personality are formed and developed in the game, significant changes occur in his psyche, which prepare the transition to a new, higher stage of development.

Psychologists consider play to be the leading activity of a preschooler.

A special place in the activity of a preschooler is occupied by games that are created by the children themselves, these are creative or role-playing games. In them, children reproduce in roles everything that they see around them in the life and activities of adults. In the game, the child begins to feel like a member of the team, he can fairly evaluate the actions and deeds of his comrades and his own.

Main features of role-playing game

1. Compliance with rules .

The rules govern the actions of the child and caregiver and say that sometimes you have to do what you don’t want to do at all. It is difficult for adults to do what they do not like, but for a child it is hundreds of times more difficult. Just like that, the ability to act according to the rule does not appear in a child. An important stage of preschool development is a role-playing game, where obedience to the rule follows from the very essence of the game.

Mastering the rules of role-playing behavior in play, the child also masters the moral norms included in the role. Children master the motives and goals of adult activities, their attitude to their work, to events and phenomena of social life, to people, things: in the game a positive attitude is formed to the way of life of people, to actions, norms and rules of behavior in society.

2. Social motive of games .

The social motive is laid in the role-playing game. A game is an opportunity for a child to find himself in the world of adults, to understand the system of adult relationships on his own. When the game reaches its peak, then the child becomes insufficient to replace the relationship with the game, as a result of which the motive is ripening to change his status. The only way he can do this is to go to school.

3. Emotional development in role-playing game .

The child’s play is very rich in emotions, often those that are not yet available to him in life. Many domestic psychologists asked the following questions: “Does the child experience feelings or only portray them? What influence do they have on the formation of the moral character of the child? A. N. Leontiev believes that in the very depths of the genesis of the game, in its very origins, there are emotional foundations. The study of children’s games confirms the correctness of this idea. The child distinguishes the game from reality, in the speech of preschoolers there are often such words: “as if”, “make-believe” and “in truth”. But, despite this, gaming experiences are always sincere. The child does not pretend: the mother truly loves her daughter-doll, the driver is seriously concerned about whether it will be possible to save a comrade who has been in an accident.

The outstanding Russian psychologist L. S. Vygotsky also noted that, although the child creates imaginary situations in the course of role-playing, the feelings that he experiences are very real. “Katya is a mother,” says the tiny girl, and, trying on a new role, plunges into an imaginary world. And, regardless of whether her “daughter” was bought in an expensive toy store or sewn by a caring grandmother from Katya’s old tights, the little mother does not just repeat the manipulations that are supposed to be performed on babies, but feels a real feeling of motherly love for her ” baby.”

As the game and the game plan become more complex, children’s feelings become more conscious and complex. Yi fa reveals the child’s experiences and forms his feelings. When a child imitates the astronauts, he will convey his admiration for them, the dream of becoming the same. And at the same time, new feelings arise: responsibility for the task assigned, joy and pride when it is successfully completed. I. M. Sechenov gave a physiological justification for the importance of play for the formation of feelings, he proved that game experiences leave a deep imprint in the mind of a child. Repeated repetition of the actions of adults, imitation of their moral qualities affect the formation of the same qualities in a child.

From the above, we can conclude that a role-playing game is a school of feelings, it forms the emotional world of a baby.

4. In the course of the role-playing game, the intellect of a preschooler develops .

The development of an idea in a plot-role-playing game is connected with the general mental development of the child, with the formation of his interests. Children of preschool age develop an interest in various life events, in various types of adult work; they have favorite characters in books that they aspire to imitate. As a result, the ideas of games become more persistent, sometimes for a long time seize their imagination. Some games (in “sailors”, “pilots”, “cosmonauts”) continue for weeks, gradually developing. The emergence of a long-term perspective of the game speaks of a new, higher stage in the development of game creativity. At the same time, there is not a repetition of the same topic from day to day, as happens with babies, but a gradual development, enrichment of the planned plot. Thanks to this, the thinking and imagination of children become purposeful. The prolonged stay of the child in one role makes him delve deeper into the meaning of what he portrays.

5. Role-playing game develops imagination and creativity .

Plannedness, coordination of actions in long plot-role-playing games is combined with improvisation. Children outline a general plan, a sequence of actions, and during the game new ideas, new images arise. So, during a multi-day “sea voyage”, then one or another participant in the game came up with new interesting episodes: divers went down to the bottom of the sea and found treasures, caught lions in hot countries and took them to the zoo, fed polar bears in Antarctica. The development of game creativity is also reflected in the way in which different impressions of life are combined in the content of the game. Already at the end of the third and fourth years of life, children can be observed that they combine different events in the game, and sometimes they can include episodes from fairy tales that they were shown in the puppet theater. For children of this age, vivid visual impressions are important. In the future (in the fourth and fifth years of life), new impressions are included in children’s old favorite games. The reflection of life in the game, the repetition of life impressions in different combinations – all this helps the formation of general ideas, makes it easier for the child to understand the connection between different phenomena of life.

To implement a plan in a role-playing game, a child needs toys and various objects that help him act in accordance with the role he has taken on. If the right toys are not at hand, then the children replace one object with another, endowing it with imaginary signs. This ability to see non-existent qualities in an object is one of the characteristic features of childhood. The older and more developed the children, the more demanding they are about the objects of the game, the more they look for similarities with reality.

6. Speech development .

The role of the word is especially great in creating an image. The word helps the child to reveal his thoughts and feelings, to understand the experiences of partners, to coordinate his actions with them. The development of purposefulness, the ability to combine is associated with the development of speech, with an ever-increasing ability to clothe one’s ideas in words.

LS Vygotsky argued that the development of children’s imagination is directly related to the assimilation of speech. Children who are delayed in their speech development turn out to be retarded in the development of their imagination.

There is a two-way relationship between speech and play. On the one hand, speech develops and is activated in the game, and on the other hand, the game itself develops under the influence of the development of speech. The child denotes his actions with a word, and thereby comprehends them; he also uses words to complement actions, to express his thoughts and feelings. In older preschool age, sometimes whole episodes of the game are created with the help of a word. The role of the word is especially noticeable in the so-called director’s games, where the child does not take on roles, as in an ordinary game, but moves dolls and other toys, speaks for them. An element of directing is contained in every game with puppets. “Mom” speaks and acts both for herself and for her daughter-doll.

Types of story-role-playing games:

1. Games for everyday subjects : “home”, “family”, “holidays”, “birthdays”. And these games are occupied by games with dolls, through actions with which children convey what they know about their peers, adults, their relationships.

2. Games on industrial and social topics , which reflect the work of people. For these games, themes are taken from the surrounding life (school, shop, library, post office, hairdresser, hospital, transport (bus, train, plane, ship), police, firemen, circus, theater, menagerie, plant, factory, mine, construction, collective farm, army).

3. Games on heroic and patriotic themes , reflecting the heroic deeds of our people (war heroes, space flights, etc.).

4. Games on the themes of literary works, films, television and radio programs : in “sailors” and “pilots”, in Hare and Wolf, crocodile Gena and Cheburashka (according to the content of cartoons), in four “tankers” and a dog (according to the content of the movie), etc. In these games, the guys reflect entire episodes from literary works, imitating the actions of the characters, assimilating their behavior.

5. “Director’s” games in which the child makes the puppets speak and perform various actions. At the same time, he acts in two plans – both for the doll and for himself, directing all actions. The participants of the game think over the scenario in advance, which can be based on episodes from familiar fairy tales, stories, or their own lives. Children “teach” the puppets of the puppet and finger theaters, the toy theater “to act” in accordance with the role they have taken on, endow them with literary or imaginary signs.

Role-playing game development levels

First stage . The main content of the game are actions with objects. They are carried out in a certain sequence, although this sequence is often violated. The action chain is story-driven. The main subjects are domestic. Children’s actions are monotonous and often repeated. Roles are not defined. In form it is a side by side game or a single game. Children love to play with adults. Self-play is short-lived. As a rule, the stimulus for the emergence of the game is a toy or substitute object that was previously used in the game.

Second stage . The main content of the game is actions with the object. These actions are deployed more fully and consistently in accordance with the role, which is already indicated by the word. The sequence of actions becomes the rule. There is the first interaction between the participants based on the use of a common toy (or direction of action). Associations are temporary. The main subjects are domestic. The same game can be repeated many times. Toys are not selected in advance, but children often use the same ones – their favorite ones. The game can already unite 2-3 people.

Third stage . The main content of the game is also actions with objects. However, they are supplemented by actions aimed at establishing various contacts with partners in the game. The roles are clearly defined and assigned before the game starts. Toys and objects are selected (most often during the game) in accordance with the role. Logics; the nature of actions and their direction are determined by the role. This becomes the ground rule. The game often proceeds as a joint one, although the interaction is interspersed with parallel actions of partners who are not related to each other, not correlated with the role. The duration of the game is increased. The plots become more diverse: children reflect the life, work of adults and vibrant social phenomena.

Fourth stage . The main content of the game is a reflection of the relationships and interactions of adults with each other. The theme of games can be varied: it is determined not only by the direct, but also by the mediated experience of children. Games are collaborative, collective. Associations are stable. They are built either on the interest of children in the same games, or on the basis of personal sympathies and affections. Games of the same content are not only repeated for a long time, but also developed, enriched, exist for a long time.

Preparatory work is clearly distinguished in the game at this stage: distribution of roles, selection of game material, and sometimes its production (homemade toys). The requirement of compliance with the life logic extends not only to actions, but also to all actions and role behavior of participants. Up to 5-6 people are involved in the game.

The above levels reflect the general development of the role-playing game, however, in a particular age group, adjacent levels coexist.

Based on the concept of N. Ya. Mikhailenko, the development of the story game at different age stages can be represented in the following summary table.

4-5 years