Ways to make a crow mask. Crow and fox - puppets for home mimic theater from socks How to make a crow mask from Krylov's fable

During the classes:

I.Organizing time. Rules for seating, rules of behavior in the computer class.

II.Students predicting the topic of the lesson, the teacher communicates the objectives of the lesson

III.The teacher's word about the fabulist I.A. Krylov (presentation is shown on the screen).

I.A. Krylov was born in Moscow on February 2, 1769 in the family of an army officer. The mother was an illiterate woman. Much attention was paid to the education of the future fabulist. But already at the age of 10, Vanya was left without a father and went to work at the magistrate, copying papers. After another 4 years, the Krylov family moved to St. Petersburg. Ivan Andreevich already at this time began to write poetry and plays, but they were not successful. Three times Krylov published his magazines, but they were closed by the authorities. I.A. Krylov becomes the home teacher of the children of Prince Golitsyn and his personal secretary. Afterwards, Krylov worked at the Public Library in St. Petersburg. Success and recognition come to him, his career develops successfully, he receives various awards. He worked in the library until he was 73 years old. He retired and moved to live on Vasilyevsky Island. Krylov died on November 21, 1844 at the zenith of his glory, having lived to a ripe old age.

In his youth, he studied, studied languages, and translated opera from French for the theater. He published his own satirical magazine “Mail of Spirits” (1789), where he spoke about ignorance, bribery, embezzlement, the admiration of the nobility for everything foreign, about landowner tyranny, about the rulers of the state themselves, and put forward the idea of ​​equality between people. The magazine “Spectator” attracted the attention of the authorities, the printing house was searched, and Krylov was placed under police surveillance.

At the age of 40, Krylov entered literature as a fabulist and remained faithful to this calling to the end. Krylov often gave readings; the fables were a huge success. “And how this Krylov reads!” - one contemporary wrote in his diary - clearly, simply, without any pretentiousness and yet with extraordinary expressiveness.

During Krylov’s lifetime, 9 books containing 196 fables were published, and in total he wrote more than two hundred of them.

“Like a strong oak tree, he towered above his contemporaries, choosing the form of a fable... and in this fable he managed to become a national poet.”– wrote N.V. Gogol.

A.S. Pushkin highly valued I.A. Krylov, considering him “our most popular poet, surpassing all fabulists”.

St. Petersburg, Summer Garden, alley where the monument to I.A. is located. Krylov. The fabulist is depicted sitting, with a book in his hand, deep in thought. We see an open face, the kind, insightful eyes of a wise man. On each side of the high pedestal on which the monument is located are bas-relief images of characters from the most famous fables. Krylova. The monument was built with money that was collected throughout Russia.

Why do people highly honor the memory of the great fabulist? Why are there always flowers and children playing near “Grandfather Krylov”? Krylov teaches people to recognize themselves, helps them discover flaws in themselves and tells them how to get rid of them. Krylov teaches wisdom of life, love for the people. Reading his fables enriches us with knowledge of life and our native language.

V.Physical education minute

How are you living? Like this!

How are you going? That's it!

How are you running? Just like that!

How are you flying? Just like that!

How are you swimming? Just like that!

How are you being naughty? That's it!

How are you sitting? Like this!

VI.Fable by I.A. Krylov "The Crow and the Fox"

1. Vocabulary work (continuation of presentation on the screen)

Perched – climbed with success, with a special premonition. Give synonyms for this word: climbed, took off, perched, sat down, settled down.

Prophetic – soothsayer, one who foresees, predicts something.

Cheat – cunning and dexterous, a fraudster. One who loves to be cunning and deceitful.

Fraudster – a deceiver who commits unseemly fraudulent actions for selfish purposes.

Allegory – allegory.

VII.Work on the fable “The Crow and the Fox”

1. Watching a cartoon based on Krylov’s fable “The Crow and the Fox”

2. Conversation about first impressions

3. Practicing reading techniques (continuation of presentation)

4. Independent work. Reading a fable with preparation for reading aloud.

5. Reading the fable out loud and answering questions:

Vile - disgusting, disgusting

God sent - This is how they used to talk about something accidentally obtained or received.

Read the fable again and think about what words the fabulist uses most often? These are verbs, words are actions. They show how heroes behave. The result is a story - a narrative, not a description. It's more interesting and better remembered.

6. Reading the fable in faces.

7. Conclusion.

What is the idea of ​​I.A.’s fable? Krylova? Discussion of flattery and ridicule of those who succumb to it. The purpose of reading is to brand a flatterer and condemn a fool. Based on the well-known character traits of Foxes - cunning, deceit, hypocrisy, flattery, meanness - when reading fables, special emphasis should be placed on those character traits Foxes, which are of greatest importance for revealing the idea, namely, flattery: in the fable, the Fox achieves his intended goal with flattery, and the author equally ridicules both the flattering Fox and the stupid Crow, susceptible to flattery.

VIII.Students working at the computer.

Match the moral of the fable with its title - test.

IX.Results.

Which literary genre are we studying? Did you like today's lesson? What exactly?

Quite an unusual and beautiful crow mask. It can be New Year's, carnival, and besides, a crow mask is made different ways. Some of them are suitable not only for children, but also for adults.

A beautiful and stylish crow mask is easy to make; at the same time, it will become an excellent accessory for any occasion. New Year or other holiday.

Option with feathers

The question of how to make a crow mask should be answered: what should it be like? After all, using feathers and convex elements in your creativity, you can create chic options. You can choose absolutely any colors; it doesn’t have to be predominantly black. The important thing is that such a thing is suitable for both a matinee and a Halloween party, especially if you want to create an image like in the fable “The Crow and the Fox.”

Process of creation:

1. You need to take paper that will form the basis of the product. It should be tight. Fold a sheet of paper in half and create a mask template using scissors and a pencil. Such templates can be found on the Internet, but it’s easy to draw them yourself.
2. Next you need to draw holes for the eyes. Determine where the beak will be and draw a slit. It will need to be attached separately.
3. Then the product is cut out along the contour, as well as the planned holes inside. The distance between the eyes should be small. This can be done with children too.
4. Feathers need to be cut out of cardboard. No need to be lazy, cut them out larger, so the crow will be more beautiful.
5. An elastic band is attached to the wrong side of the craft, with which it will be held on the face. A simple sewing elastic band is suitable for this. To attach it, you can use a stationery stapler.
6. The beak is made of thick cardboard, bent in half.
7. Leave a couple of centimeters to glue the beak to the mask itself.
8. Glue the beak well to the base of the product.
9. Let's start decorating. The feathers will appear voluminous if you bend the lines in the middle.
10. A few small feathers will allow you to carefully camouflage the area around the eyes.

Other options

A carnival raven mask can be created not only from paper, it can also be made from foamiran with your own hands or from foam rubber.

Another way is to use fabric. For this purpose, a hat is sewn, preferably black. Any pattern will work. The main thing here is to use a smooth fabric that will shine like a crow's feathers. After this, you can use real feathers or paper cut ones. If the feathers are real, then they are attached to the fabric with small stitches of black thread; paper feathers can be glued with glue. The beak, made of paper, is attached to the hat in the same way.

An easier option is to download the crow's face from the Internet, cut it out, glue it to an elastic band and you're done. It all depends on the time and material available.

From now on, no mother will have a question about how to make a crow mask, like in the fable “The Crow and the Fox.” All of the above methods are simple and accessible.

Crow and fox - hand puppets made from socks for home mimic theater. These are “artists” for the staging of the famous fable of Grandfather Krylov. The fable-play can be performed by three people (fox, crow, and storyteller) or together. Then the role of the narrator can be combined with the crow. To tell the truth, the crow has a very small role. And there is only one response: “Kar!” But for great artists there are no small roles! In addition, this will allow you to involve even very young actors of three or four years old in the performance of your home mimic theater - specifically for the role of a crow.

With crow and fox dolls made from socks, you can perform other performances in your home mimic theater. For example, another fable - “The Fox and the Grapes”. Or Russian folk tale"The Fox and the Blackbird." The crow will "turn" into a blackbird. For this fairy tale you will need to do. And the narrator will tell about how the thrush fed, watered, and made the fox laugh.

How to make a fox out of a sock for home mime theater

You will need:

• red or orange sock
• cardboard
• black and white felt
• White and red yarn
• A little padding polyester or foam rubber
• Thread, needle, scissors

1. Make a mouth for the fox. Turn the sock inside out. We cut out a rectangle from cardboard the width of the sock and round the corners.

We bend the resulting cardboard figure in half and glue it to the tip of the sock as shown in the figure.

2. We sew a piece of padding polyester to the heel of the sock, thereby forming a protruding part of the head. The photograph was taken - it's like final stage, but it’s more convenient to sew the padding polyester right away.

3. Using a template, we cut out additional parts for the sock doll from white and black felt.

We sew the resulting parts with a stitch or buttonhole stitch to the sock as shown in the figure.

You can glue ready-made eyes like ours, you can make them from felt or sew on buttons.

4. The pride of the fox is the tail - we make it from white and red yarn.

We wind the yarn onto the base. Remove the bundle from the base and cut the threads on both sides.

Take a long thread and start tying small bundles of yarn. We place each next beam perpendicular to the previous one. Let's start making a tail from yarn white, then red. Keep in mind that the finished tail will be slightly longer than when working.

We trim the fox's tail with scissors and sew it to the sock.

The fox doll for the home mimic theater is ready.

How to make a crow from a sock for home mime theater

For the crow you will need:

• Black sock
• Yellow felt
• Cardboard
• Ready-made eyes (can be replaced with cardboard or felt)
• Scissors, needle, thread

1. Turn the sock inside out and glue on a cardboard insert, like a fox’s.

Page 3 of 20

Krylov's fables on the school stage

I. A. Krylov

“I love, where there is an opportunity, to pinch vices!”

Dramatizations of fables by A. I. Rozanova

This is the name of the play... The name is loudly announced by the leading girl (or boy) who begins the performance. She goes on stage with a book in her hands and says: “I love, where there is an opportunity, to pinch the vices!” These words belong to Krylov and mean that he is always ready, always happy to expose, ridicule human vices(it is known that under the guise of animals, birds, plants, animals, Krylov brought out people in his fables). The girl reads the inscription on the cover: “Krylov’s Fables.” He steps aside, sits on the edge of the stage, leafs through the book, lingering on the titles of some fables, reading them aloud, but as if for himself: “Swan, Pike and Cancer”, “Demyan’s Ear”, “Two Pigeons”, “A Man and a Snake” ", "The Crow and the Fox"... This last fable interests her more than others. She smiles and decides to read the fable in its entirety, stands up, repeats loudly again, addressing the audience: “The Crow and the Fox,” and the staging of this fable begins. The Crow is already sitting on the tree, and behind the scenes the Fox is waiting to come out.
When this fable ends, the second begins, then the third, and so on until the end. The readers change - the guys reading the text from the author - but all the fables go one after another without any interruption. This, in fact, is what distinguishes this performance from an ordinary concert consisting of separate numbers. And one more thing: in this collection we are giving you a description of only ten fables, but if you want to put more (and we strongly advise you to do so!), then do this: let you have several fables in a row where the Wolf participates. This is like a series of episodes from one play from the life of the Wolf. Each episode reveals new qualities of the Wolf - his greed, deceit, ferocity, ingratitude, hypocrisy (“The Wolf and the Lamb”, “The Wolf and the Crane”, “The Wolf in the Kennel”). Also group together fables about Monkeys (“Mirror and Monkey”, “Monkey and Glasses”, “Quartet”, “Monkeys”), about the Fox, etc.
Such groups of fables with the same characters will help the performance to be integral and unified. Of course, these “groups” can be interspersed with “single” fables.
It is good that fables with a small number of characters - and these are the majority - alternate with fables where there are or where crowd scenes can be introduced.
Try to use the scene in a varied and complete way. The unity of the performance largely depends on the design, on the scenery in which the action takes place. But there are many fables, and their action takes place in different places. Make one set, the same for all the fables, so that the entire performance can be played in it, and immediately install on the stage everything that is needed for each fable. Do not clutter the stage with unnecessary things, select only what is necessary. The forest, which is the setting for many fables, requires trees. Two trees are enough. These two trees are not of any specific species, but trees “in general,” fairy-tale, fable trees, such that our Russian cuckoo can crow on them, and chestnuts can grow, and monkeys can sway. Of course, such universal trees do not occur in nature, but even animals in real life do not speak humanly.
Make the trees so that you can climb them; for example, from stepladders with tied trunks and crowns. The performers climb up the steps into the trees from behind and are visible from above: waist-deep when necessary, neck-deep when necessary. Place two or three stumps and a trunk near the trees. Between the trees on the right and left, there is free space in the middle. It is good that this is not a flat floor of the stage, but a raised small platform, like a stage, made from stands with steps (on which a choir usually performs) or simply from moved stable tables. These are all playgrounds: a tree on the left, a tree on the right, a fallen trunk, a proscenium, a stage - all these are places where, in our “land of fables,” here and there the action of the next fable occurs. Of course, some small details can be introduced and then removed as needed, as the action progresses. But basically everything has to be prepared on stage in advance.
The design of the performance also includes the costumes of the performers. Sometimes the guys play animals in masks. This is not good: masks interfere with speaking, muffle the voice, cover the face and instead of living facial expressions, living eyes, only a motionless mask is visible. It is better to do without masks, and look for the most characteristic details for each character. For the Wolf, for example, the most characteristic thing is paws with long claws, and not ears or, say, a tail. But the tail is important to the Fox - she covers her tracks with it, flaunts it, and fans herself. It is enough for a donkey to have long ears, for a goat to have a beard. If you want, make masks for animals and birds in the form of caps that leave their faces open.
All these tails, ears, paws, beaks are made from the simplest material - scraps of cardboard, old stockings and gloves, colored paper, wire, rope, washcloth. Fur and feathers come out very well from thinly cut strips of paper.
But how will the performers generally be dressed? It’s very good if all the guys - both boys and girls - wear the same black or blue training suits: they’re comfortable for running, jumping, climbing trees, falling on the floor if necessary. The first girl presenter is in a pioneer uniform. In the future, the reading guys can remain in T-shirts, only by tying a pioneer tie around their necks. Some guys will have to put on and take off their tie several times. There is no way to forget about this. Think what will happen if a boy who has just been a reader suddenly comes out in the next fable, say, to play one of the Geese or the Goat in a pioneer tie!
Readers should not “report” the text indifferently: they are not outside observers, but ardent “fans” and do not hide their sympathies. It should be clear which of the characters they sympathize with and which, say, they condemn. Sometimes they even interfere in the action, enter into communication with the characters... But you will read about this in the descriptions of the fables.
When the text is well memorized, proceed to rehearsals on stage (or on any platform that replaces the stage). Look for characteristic movements for each animal you are playing. Observe the gait and habits of pets and birds. A goose walks differently than a rooster. A cat jumps differently than a dog. If possible, visit the zoo. Look at the pictures and illustrations for books about the life of animals, birds, and animals. You can draw illustrations for the fables yourself. Even someone who does not know how to draw well can draw a plan of mise-en-scène - this is the name for the location of the characters on stage.
Try to arrange the performers so that everyone can be clearly seen, so that no one obscures each other, otherwise the audience will stand up to get a better look.
The reader must coordinate the text with the actions of the characters. Sometimes he may slow down his narration in order to allow the performer to complete everything slowly necessary actions. The sage must work hard to open the box before giving up further attempts. Let the reader be silent.
Sometimes the reader makes a similar pause immediately after the announcement of the next fable. For example, in the fable “The Cat and the Cook,” you need to pause so that Vaska the Cat can do the whole pantomime with the little chicken.
Music greatly embellishes and enriches the performance. In some fables, such as “Quartet”, “Donkey and Nightingale”, it is simply impossible to do without music, as with the appearance of the Dragonfly, the appearance of the Geese or in “The Mirror and the Monkey”. Music not only creates the right mood, but also organizes the performance. All transitions from one fable to another are made to music. Pronounced the last word fables, and to the music the performers run away from the stage, and they are replaced by a new reader and the performers of the next fable; If necessary, individual design details are added and removed. It is best to take the music of composers of the time when Krylov lived and wrote: polkas by Glinka, Balakirev, of course, “The Nightingale” by Alyabyev, Russian folk songs. This music is best played on the piano. If you don't have a piano, you can give musical accompaniment on a button accordion, accordion, some stringed folk instrument, or create an ensemble of several instruments.
Individual fables can be shown at any concert, at any holiday - at school, and at camp. By the way, in the camp you can stage fables right in the forest, where everything - trees, bushes, hillocks - everything will be living scenery. Find a suitable lawn for spectators to sit on. If desired, you can stretch a curtain between two trees, but you can do without it. Imagine how cute it will be: Crow, Cuckoo, Nightingale sitting on real trees and talking from above; Wolf, Fox, Donkey come out from behind real bushes; Monkey, Donkey, Goat yes clubfooted bear they start their quartet on a real meadow - even if not under sticky trees, but under birches and fir trees - it doesn’t matter! The lamb drinks water from a real stream! Of course, such a performance must be carefully prepared: find in advance a suitable lawn, comfortable trees that are safe to climb, and from where the performers will be clearly visible and audible.
And some fables can also be played in puppet performance: the reader stands in front of a screen over which a puppet performance is taking place.

FROM THE ARTIST

For a generalized stage solution when designing the play “Krylov’s Fables,” you can use the image of a barrel organ, an ancient folk musical instrument.
In the old days, traveling artists walked around fairs and city courtyards with a barrel organ and gave small performances.
Often trained animals also took part in such performances: dogs, bears, etc.
Organ organs were always brightly colored and covered with popular prints. As a rule, the organ grinder took some small animal with him to work: a monkey, a squirrel, a marmot. Accompanied by jokes and songs from the organ grinder, they pulled out tickets “for good luck” from a special box.
Build a large box out of plywood, paint it, attach a handle - and the organ is ready.
It will allow your director to come up with many different placements of actors during the action, enliven the mise-en-scène, make it possible to create a visually fun performance and decorate it.

A Crow and a fox

How many times have they told the world,
That flattery is vile and harmful; but everything is not for the future,
And a flatterer will always find a corner in the heart.
Somewhere God sent a piece of cheese to a crow;
Raven perched on the spruce tree,
I was just about ready to have breakfast,
Yes, I thought about it, but I held the cheese in my mouth.
To that misfortune, the Fox ran quickly;
Suddenly the cheese spirit stopped the Fox:
The fox sees the cheese, - The fox is captivated by the cheese.
The cheat approaches the tree on tiptoe;
He twirls his tail and doesn’t take his eyes off Crow.
And he says so sweetly, barely breathing:
“My dear, how beautiful!
What a neck, what eyes!
Telling fairy tales, really!
What feathers! What a sock!
And, truly, there must be an angelic voice!
Sing, little light, don’t be ashamed! What if, sister,
With such beauty, you are a master at singing,
After all, you would be our king bird!”
Veshunin's head was spinning with praise,
The breath stole from my throat with joy,—
And Lisitsina’s friendly words
The crow croaked at the top of her throat:
The cheese fell out - such was the trick with it.

The reader stands on the left. The crow sits on the tree on the right, visible from the waist up. She doesn't have cheese in her mouth yet. Obviously, she just stole it from somewhere - crows love shiny things - and in her wing-hands she has processed cheese in a silver wrapper (it could be just a piece of cheese). The crow itself has not yet figured out what it is. She unwraps the cheese, closes her eyes with pleasure and, sitting comfortably, half stuffs the cheese into her mouth. The Fox appears on the left. She has a bag on her hand. Having reached the middle of the stage, she stops, opens her bag, and takes out egg, admires it, is about to smash it on a tree stump to drink it, and suddenly freezes. He moves his nose and notices Crow and cheese. He quickly puts the egg in the bag, preens himself, and heads to the tree: “My dear, how pretty!..” The Fox pretends that she just noticed the Crow that very minute. And the Crow, although stupid, saw the Fox and realized that she had to be on her guard - she dived back behind the tree, and only looked out from there, watching the Fox. The Fox, in order to lull the Crow’s suspicions, moved back, sat down on a stump and continued to speak, as if to herself, as if not for the Crow: “What a neck, what eyes!” She doesn't even look towards the tree. And the Crow listens, leans out more and more from behind the tree, looks at it, admires its feathers, stretching out one hand-wing, then the other... The Fox gets up and sighs: it’s a pity, they say, to leave such a beauty, well, nothing can be done , business, business!.. - and hurriedly walks, heading to the right wing. Again, as if by accident, he notices Vorona and directly squeals with delight: “What a sock!” And, as if struck by a sudden thought, she prays: “Sing, little light!” She raised her hands, conducted and counted impatiently: “And one, and two, and three...”
Sometimes the Crow holding the cheese in its mouth does not make a loud caw. It is possible that at this moment one of the guys croaked behind the scenes. The Fox picks up the cheese, puts it in her bag and, blowing a kiss to Crow, runs away. The reader shakes his head: “Well, well!..”

The Wolf and the Lamb

The powerful are always to blame for the powerless:
We hear countless examples of this in History.
But we don't write history,
But this is what they say in fables.
On a hot day, a lamb went to a stream to drink;
And it is necessary bad things happen,
That a hungry Wolf was prowling around those places.
He sees a lamb and strives for the prey;
But, to give the matter at least a legal look and feel,
Shouts: “How dare you, insolent, with an unclean snout
Here's a clean drink
My
With sand and silt?
For such insolence
I'll rip your head off,"
“When the brightest Wolf allows,
I dare say that down the stream
From the lordship of his steps I drink a hundred;
And he deigns to be angry in vain:
There’s no way I can make him drink worse.”—
“That's why I'm lying!
Waste! Such insolence has never been heard of in the world!
Yes, I remember that you were still last summer
Somehow he was rude to me here;
I haven’t forgotten this, buddy!” —
“For mercy, I’m not even a year old yet,”—
The lamb speaks. “So it was your brother.”—
“I have no brothers.”— “So this is godfather or matchmaker,
And, in a word, someone from your own family.
You yourself, your dogs and your shepherds,
You all want me harm
And if you can, then you always harm me;
But I will clear up their sins with you.”—
“Oh, what’s my fault?” - “Be quiet! I'm tired of listening.
It’s time for me to sort through your faults, puppy!
It’s your fault that I want to eat.”
He said - and dragged the Lamb into the dark forest.

The reader stands in the foreground on the right. The lamb, squatting on the edge of the stage, facing the left wing, “drinks” from the stream, scooping up water with his palm. The wolf does not appear immediately. First you can hear his howl, then he himself comes out from the right. He does not walk in a straight line, but turns first to the right, then to the left (“the Wolf prowled”). He stumbles upon the reader, who fearfully shys away from him and presses himself against the wall. The Wolf climbs onto the stage and notices the Lamb. The Lamb turns around at the Wolf's voice and jumps up. The Wolf's task is to eat the Lamb, and the Lamb's task is to escape. But it will be boring and uninteresting if the Wolf from beginning to end will only be angry and growl, and the Lamb will only shake and stutter with fear. It is more interesting if everyone acts differently. The wolf at first feigns insult and is “nobly” indignant; he is allegedly defending his legal rights. Only at the end does he cynically admit: “I have leisure to sort out your faults, puppy!” And, howling: “...I want to eat!” — throws himself on top of the Lamb. And the Lamb, although timid at first, behaves with dignity. He feels so right that he calmly and politely explains to the Wolf his mistake, and after explaining, he turns to the stream and continues to drink. Only gradually does he begin to understand that it is better to run away before it is too late, but he can no longer do this - the Wolf seems to have pinned him to the spot with his terrible eyes. When talking, the Wolf howls on vowels, especially in words where the letters “u” and “s” occur. And at the end: “ku-u-ush!”
The main detail of the Wolf costume is its huge paws with long claws. The Lamb is wearing a white baby bib with frills and a hat with a pompom.

Wolf at the kennel

The wolf at night, thinking of getting into the sheepfold,
I ended up at the kennel.
Suddenly the entire kennel yard rose up.
Smelling gray so close to the bully,
The dogs are flooded in the barns and are eager to fight;
The hounds shout: “Wow, guys, thief!”
And instantly the gates are locked;
In a minute the kennel became hell.
They run: another with a club,
Another with a gun.
“Fire! - they shout: - fire! They came with fire.
My Wolf sits with his backside pressed into the corner.
Teeth snapping and fur bristling
With his eyes, it seems he would like to eat everyone;
But, seeing what is not here in front of the herd
And what finally comes
He must pay for the sheep,—
My cunning man set off
In negotiations
And he started like this: “Friends, why all this noise?
I, your old matchmaker and godfather,
I came to make peace with you, not at all for the sake of a quarrel;
Let's forget the past, let's establish a common harmony!
And not only will I not touch the local herds in the future,
But I’m happy to fight for them with others
And I affirm with the Wolf's oath,
What am I..." - "Listen, neighbor, -
Here the Hunter interrupted in response: -
You are gray, and I, buddy, are gray,
And I have known your wolf nature for a long time;
Therefore, my custom is:
There is no other way to make peace with wolves,
Like skinning them off.”
And then he released a pack of hounds at the Wolf.

This fable is one of Krylov's most famous fables. Historical, patriotic fable. Under the guise of the wise old Hunter, Krylov brought out the great Russian commander Kutuzov, the hero Patriotic War 1812. And under the guise of the hypocritical Wolf - Napoleon, who, sitting in burning Moscow, began to ask for peace, realizing that he was in danger of death.
Turn off all the lights on the stage except the blue ones at night. Behind the scenes you can hear desperate dogs barking. The hounds come running with electric flashlights. They highlight the Wolf clinging to the stage. The wolf raises a dirty white flag on a stick and begins his hypocritical speech. After the final words of the fable, the lights on the stage turn off completely for a few seconds, and the deafening barking of dogs resumes in the darkness. When the stage is illuminated again, there is no one on it, there is complete silence.

Two dogs

The faithful yard dog Barbos,
Who diligently carried out his lordly service,
I saw an old friend of mine,
I'm buzzing, curly lap dog,
On a soft down pillow, on the window.
Affectionately towards her, as if towards relatives,
He almost cries with emotion
And under the window
Squeals, wags its tail
And he jumps.
“Well, Zhuzhutka, how are you doing?
Since the gentlemen took you into the mansion?
After all, remember: in the yard we often went hungry.
What service do you perform? —
“For luck, it’s a sin to grumble,” Zhuzhutka replies: “
My master dotes on me;
I live in contentment and goodness,
And I eat and drink on silver;
I'm frolicking with the master; and if I get tired,
I'm lying on the carpets and the soft sofa.
How are you living? “I,” answered Barbos,
Letting down your tail with a whip and hanging your nose: -
I still live: I endure the cold
And hunger
And, saving the master's house,
Here I sleep under the fence and get wet in the rain;
And if I bark at the wrong time,
I also accept beatings.
Why did you, Zhuzhu, get into trouble?
I was powerless and small,
Meanwhile, I’m trying to get out of bed in vain?
What do you serve?” - “What do you serve! That's great! —
Zhuzhu answered with mockery: -
I walk on my hind legs.”

How many people find happiness
Only because they walk well on their hind legs!

During the musical introduction, two stools covered with a rug are placed on the stage. Zhuzhutka is reclining on them. She has a lush bow on her neck and fashionable transparent gloves on her paws. You don’t have to put gloves on Zhuzhutka, but it’s better to let her do a manicure. He will admire his claws and clean them with a nail file.
The reader stands at the forefront on the left.
Barbos is on the right, below the stage. He has a chain around his neck, the end of which goes behind the scenes. Make a chain from scraps of tin, so that it rattles with every movement of Barbos.
Zhuzhutka looks down at Barbos, he looks up at her. He is sincerely glad that she managed to settle down so well. He doesn't envy her at all. He just wants to know what her job is. And only when Zhuzhutka stands on her hind legs and squeals obsequiously, demonstrating her “work”, Barbos spits: “Ugh!” - and moves away from her.

Dragonfly and ant

Jumping Dragonfly
The red summer sang;
I didn’t have time to look back,
How winter rolls into your eyes
The pure field has died;
There are no more bright days,
Like under every leaf
Both the table and the house were ready.
Everything has passed: with the cold winter
Need, hunger comes;
The dragonfly no longer sings:
And who cares?
Sing on a hungry stomach!
Angry melancholy,
She crawls towards the Ant:
“Don’t leave me, dear godfather!
Let me gather my strength
And only until spring days
Feed and warm! —
“Gossip, this is strange to me:
Did you work during the summer?” —
Ant tells her.
“Was it before that, my dear?
In our soft ants
Songs, playfulness every hour,
So much so that my head was turned.”—
“Oh, so you...” - “I’m without a soul
I sang all summer.”—
“Have you been singing everything? This business:
So come and dance!”

The reader stands on the left. On the left, a cowered Dragonfly, trembling from the cold, emerges from the depths onto the front stage. In her hand she holds an umbrella made in the shape of a large yellowed maple leaf on a long stem - a handle. After the words “winter is rolling in,” the reader throws up a handful of finely chopped white pieces of paper, showering the Dragonfly with snow. The dragonfly removes a leaf from the stem and wraps itself in it like a scarf. The words “in cold winter there is need, hunger comes; The dragonfly no longer sings,” the reader pronounces it as a question; turning to Dragonfly, he approaches her and sympathetically puts his hand on her shoulder. The dragonfly pushes him away and unexpectedly rudely answers: “And who would think of singing on his stomach when he’s hungry!” Still, the reader feels sorry for her. He shows the Dragonfly the Ant's house and with signs advises her to knock there. He explains the way with signs.
The dragonfly trudged along the proscenium. So she fell into a snowdrift and obviously got her shoes full of snow, because she stops and, standing first on one leg, then on the other, takes off her shoes, shakes them out and puts them on again. So she got to Ant's house. You can use the door that leads from the auditorium to the stage. Many stages have doors like this. But if not, the Dragonfly knocks right on the wall, and the Ant comes out or looks out from behind the edge of the curtain.
Ant is wearing a work apron (a nice black oilcloth one), and is holding a hammer, saw or ax in his hands—apparently, the arrival of Dragonfly found him at work. Guys sometimes blame Ant for refusing Dragonfly shelter and driving her out into the streets in winter. But that’s how Krylov wrote - obviously, the Dragonfly he had in mind deserved it.
We tried to make the Dragonfly so that you wouldn’t feel sorry for it: our Dragonfly, despite its pitiful appearance, is a rather impudent creature. She answered the reader rudely, and spoke to the Ant in a demanding, capricious tone; she literally banged on the door; without waiting for Ant's permission, she climbs into his house, so that Ant is forced to lightly take her by the shoulders and lead her away from the door. No, the audience will not feel sorry for such a Dragonfly!

The cat and the cook

Some Cook, literate,
He ran from the kitchen
To the tavern (he ruled the pious
And on this day the godfather held a funeral feast
And at home, keep food away from mice
I left the cat.
But what, come back, does he see? On the floor
Pie scraps; and Vaska the Cat is in the corner,
Crouching for a barrel of vinegar,
Purring and grumbling, he works on the little chicken.
“Oh, you glutton! ah, villain! —
Here the Cook reproaches Vaska: -
Aren't you ashamed of the walls, not just the people?
(But Vaska still cleans up the little chicken.)
How! Having been an honest Cat until now,
Sometimes people say that you are an example of humility,
And you... wow, what a shame!
Now all the neighbors will say:
“Vaska the cat is a cheat! Vaska the cat is a thief!
And Vaska didn’t just go to the cookhouse,
There is no need to let him into the yard,
Like a greedy wolf into a sheepfold:
He is corruption, he is a plague, he is a plague of these places!
(And Vaska listens and eats.)
Here is my rhetorician, giving free rein to his words,
There was no end to the moralizing.
But what? While he was singing it,
Vaska the cat ate all the roast.

And I would like a different cook
He ordered to write on the wall:
So as not to waste speeches there,
Where should power be used?

On the stage, where the cook is supposed to be, there is a stool, and on it is a large frying pan covered with a lid. Vaska the cat climbs onto the stage and walks around the frying pan. He lifts the lid and inhales the steam from the roast. Covers the frying pan, moves away, meows pitifully. He can’t stand it, rushes to the frying pan, grabs it and settles down in a secluded corner “behind the vinegar barrel” (instead, you can put one of the suitable stumps on the stage before the start of the fable). It’s good to make two “chickens”: one whole and the other already eaten by Vaska, just the bones. The Cook is wearing a white chef's suit, a cap, and has a ladle in his hand. Running in, he wipes his mouth as he goes. Under no circumstances should you portray the cook as drunk, with a stumbling gait, or with incoherent speech. It’s very ugly when guys pretend to be drunk. By the way, in this fable, the point is not at all that the Cook “ruled a funeral feast for his godfather,” but in his addiction to empty, aimless conversations and his own eloquence. Having first attacked Vaska with reproaches, he later becomes so carried away by his oratory that he almost forgets about the culprit himself and turns directly to the audience. He imitates a bad speaker, raises his hands to the sky, waves a ladle. The timid Vaska gradually becomes bolder: he calmly, no longer hiding, continues to eat and with an innocent look even assents to the Cook. At the end, he places the frying pan on a stool, carefully puts the bones in it, covers it with a lid and “washes it” with his paw.

Mirror and monkey

Monkey, seeing in the Mirror your image,
Quietly push Bear with his foot:
“Look,” he says, “my dear godfather!”
What kind of face is that there?
What antics and jumps she has!
I would hang myself from boredom
If only she was even a little like her.
But, admit it, there is
Of my gossips, there are five or six such crooks:
I can even count them on my fingers.”—
“Why should a gossip consider working,
Isn’t it better to turn on yourself, godfather?” —
Mishka answered her.
But Mishenka’s advice was wasted.

There are many such examples in the world:
No one likes to recognize themselves in satire.
I even saw this yesterday:
Everyone knows that Klimych is dishonest;
They read about bribes to Klimych,
And he furtively nods at Peter.

This fable involves not three performers - a reader, a Monkey and a Bear - but five: two Monkeys, two Bears and a reader. Can you guess why? Because, thinking about how to show a mirror in the fable, we decided to make it alive: there will be no mirror, real or fake, on the stage, but there will be “reflections”, doubles of the Monkey and the Bear. It is necessary to select two girls for the roles of the Monkey and her double, but the possibility of the same height, with the same hair; the faces may not be very similar. To increase their similarity, use costume details: the Monkeys can have exactly the same ruffled bright skirts, the same large bows in their hair. The boys—Bear and his reflection—are wearing the same vests, the same combs and canes in their hands. And the rest of the similarity depends on the execution. The fable begins even before the text begins, and this first scene goes to the music, like a dance. The Monkey and her double jump out onto the stage from behind and stand opposite each other, sideways to the viewer. Between them, in the middle of the stage, there seems to be a large mirror, the size of a Monkey. The monkey jumps up to the mirror, sees his reflection there and is indignant at the intrusion of some foreign “face”. She tries to drive her away, but they want to do the same to her. She runs away from the mirror - and the “stranger” runs away. This one is hiding, watching from afar - and that one too. The monkey carefully approaches the mirror in order to waylay and punish the offender - and she is right there. Mimicking her, threatening her... During the rehearsal you will find a whole series funny actions for the Monkey: how it wipes the mirror with its paw, and how, swinging to strike, it accidentally hurts its finger and then sucks it, and much more. The performers must train so that the movements of both are absolutely identical. Please note that if the first Monkey moves right hand or foot, then its reflection is with the left, that is, as it appears in a real mirror. The bear goes to the mirror to comb his hair and straighten his tie, and his double takes out exactly the same comb. The conversation between the Monkey and the Bear takes place without music. This is the only way the audience can guess who is the real Monkey and the real Bear, and who are their reflections: the real ones speak out loud, and their doubles only move their lips.

Geese

Long twig
The man drove Geese into the city to sell;
And to tell the truth,
The goose scratched his flock of goose not very politely:
He was in a hurry to make money on market day
(And where it touches profit,
It’s not just the geese who get it, people too).
I don’t blame the man;
But Geese interpreted it differently
And, meeting a passerby on the way,
Here's how they blamed the guy:
“Where can we, Geese, be more unhappy to be found?
The guy is pushing us around like that
And he chases us, as if he were ordinary Geese;
And this ignoramus doesn’t understand this,
That he owes us respect;
That we descend our noble family from those Geese,
To whom Rome once owed salvation.
There are even holidays established in their honor!” —
“What do you want to be distinguished for?” —
A passerby asked them. “Yes, our ancestors...” - “I know
And I read everything; but I want to know
How much benefit have you brought?” —
“Yes, our ancestors saved Rome!” —
“That’s it, why did you do that?” —
"We? Nothing!" - “So what good is there in you?
Leave your ancestors alone:
The honor was right for them;
And you, friends, are only good for roasting.”

This fable could be explained more -
Yes, so as not to irritate the Geese.

There is a legend that once on Ancient Rome enemies attacked. At night they secretly surrounded the city. The geese heard the approach of the enemy and with their cry woke up the guards guarding the city, thus warning of the danger.

Have you heard the expression “walking single file”? It came “from geese”. So, one after another, in single file, all the participants enter the stage with an important “goose” step. They walk around the stage like a snake, unfurling in a long ribbon, stretching their necks, hissing angrily at the “man” who, shouting, chases them with a long twig; they are trying to grab his hand. The owner anxiously counts them, then sits down on a tree stump to rest. The geese also sit on the ground, occupying the entire stage. The passer-by is walking on the right. Geese text is divided among several Geese according to the number of phrases. The rest chime in at the end of each phrase: “ha-ha-ha!” The last lines (“Yes, our ancestors...”, “Yes, our ancestors saved Rome!” and “We? Nothing!”) The geese speak in unison. At the end of the fable, the owner gets up, takes a twig, makes the geese stand up, and they, just like at the beginning, go behind the scenes, opposite to the one from which they came. You can make identical high stand-up collars for geese from thick paper, supporting the chin.

Quartet

Naughty Monkey,
Donkey,
Goat
Yes, clubfooted Mishka
We decided to play a Quartet.
We got sheet music, bass, viola, two violins
And they sat down on the meadow under the sticky trees -
Captivate the world with your art.
They hit the bows, they fight, but there’s no point.
“Stop, brothers, stop! - Monkey shouts: - wait!
How should the music go? That's not how you sit.
You and the bass, Mishenka, sit opposite the viola,
I, the prima, will sit opposite the second;
Then the music will be different:
Our forest and mountains will dance!”
We settled down and began the Quartet;
He still isn't getting along.
“Wait, I found a secret,”
The Donkey shouts: “We’ll probably get along,”
If we sit next to each other."
They listened to the Donkey: they sat down decorously in a row,
And yet the Quartet is not going well.
Now they're getting even more intense than ever
And disputes
Who should sit and how?
The Nightingale happened to fly to their noise.
Here everyone asks him to resolve their doubts:
“Perhaps,” they say: “take patience for an hour,
To put our Quartet in order:
And we have notes, and we have instruments;
Just tell us how to sit down!” —
“To be a musician, you need skill
And your ears are gentler,—
The Nightingale answers them.—-
And you, friends, no matter how you sit down,
You’re still not fit to be musicians.”

It is not so easy to obtain for this fable the very instruments they speak of. Make them out of plywood? The result will not be instruments, but models that cannot be played. It would not be surprising that the Quartet does not work out! It’s better to collect what you can: a guitar, a balalaika, two domras. Not the reader, but the Monkey, boasting, will say: “We got music, bass, viola, two violins.” Well, Monkey and her friends could have made a mistake - how could they understand musical instruments, they even made their own bows from twigs! Monkey is the first to run onto the stage with a bundle of sheet music in her hands. She looks for a suitable clearing, counts the stumps - just four, great! - and calls the others. The reader introduces them to the audience, calling them by name. Having boasted of notes and instruments, Monkey seats the musicians on stumps, distributes notes to them, and suddenly realizes that there is nothing to play with. Here everyone gets a twig for themselves. “E-and-and - one!” - Monkey commanded, waving her twig, and everyone “struck their bows.” At first, the musicians are delighted with their music, but, looking at the reader, who covered his ears and ran away from the Quartet, they realized that something was wrong.
During the course of the action, the Quartet is moved several times, and for each new mise-en-scène, use all the possibilities: the proscenium, the stage, and the rearrangement of stumps.
Of course, it is not so easy to move real stumps in a real forest, but in the “land of fables” everything is possible. The Monkey and the Bear even climb trees to play.
Tools must be handled with care. Even in the midst of arguments, do not think of throwing them to the ground out of frustration, or roughly pulling the strings, or fighting with them.
And the Monkey, and the Bear, and the Donkey, and the Goat are essentially good-natured creatures. They are not so much angry about their failure as they are sad. And the Nightingale (he answers them from the tree) speaks to them not disdainfully, but quite politely and even sympathetically.

Donkey and nightingale

The donkey saw the nightingale
And he says to him: “Listen, buddy!
You, they say, are a great master of singing:
I would really like
Judge for yourself, having heard your singing,
How great is your skill?
Here Nightingale began to show his art:
Clicked and whistled
On a thousand frets, pulled, shimmered;
Then gently he weakened
And the languid sound of the pipe echoed in the distance,
Then it suddenly scattered in small fractions throughout the grove.
Everything then listened to Aurora’s favorite and singer;
The winds have died down, the choirs of birds have fallen silent
And the herds lay down.
Breathing a little, the shepherd admired him
And only sometimes
Listening to the Nightingale, he smiled at the shepherdess.
The singer has died. The donkey, staring at the ground with his forehead,
“Pretty much,” he says: “it’s not false to say,
I can listen to you without getting bored;
It's a pity that I don't know
You and our rooster:
If only you had become more alert,
If only I could learn a little from him.”
Hearing this judgment, my poor Nightingale
He took off and flew to distant fields.

God save us from such judges.

The most difficult thing in this fable is playing the role of the Nightingale. But it’s as if the Nightingale wasn’t given any words, and he has nothing special to do - sit on a tree and sing. It’s not difficult to guess what to sing: of course, everyone’s favorite “Nightingale” by composer Alyabyev. But how can you sing if you can’t find a girl or boy for the role of the Nightingale who could sing or whistle this melody artistically? Is it possible for Nightingale to open his mouth to this music, performed by a pianist behind the stage, pretending that he is singing? Of course not. It’s better to do this: let the Nightingale sing, but not out loud, but to himself. To do this, he does not need to “open his mouth”, but only needs to listen to the music very carefully and feel it. He can even conduct himself a little, with light movements, “sing with his hands.” He conducts and looks around and with his “singing” hands, as if he points the audience to everything he sings about: the sky, the earth, the herbs and flowers, all the nature that he loves. But this is the Nightingale’s song. Appropriate lighting will also help create the mood: it’s a summer night on the stage, the moon has risen over the tree. The fable begins like this. When it got dark on the stage and the Nightingale’s singing was heard (he himself is not visible at first), the reader carefully comes out and listens with bated breath. Heavy footsteps are heard, the music stops, the reader turns around. “Donkey...” he announces with annoyance and then adds with tenderness: “... and the Nightingale.” After the Donkey's demand, the Nightingale is up in the tree and performs the difficult part we were talking about. In the middle of his singing, three girls quietly enter the stage, hugging each other, on one side, and two boys on the other: they also came to listen to the Nightingale. After the Nightingale “flew up and flew far away,” they all turn to the audience and say with a sigh: “God deliver us from such judges.”

Flowers

In the open window of rich peace,
In porcelain, painted pots,
Fake flowers, standing together with living ones,
On wire stems
Swung arrogantly
And we displayed our beauty astonishingly.
Now the rain started to fall.
Here they ask for taffeta flowers from Jupiter:
Is it possible to stop the rain?
They scold and vilify the rain in every possible way.
"Jupiter! - they pray: - stop the rain;
What are the ways in it,
And what's worse than that?
Look, you can't walk down the street:
There’s only dirt and puddles everywhere.”
However, Zeus did not heed the empty plea,
And the rain passed in its own way.
Having driven away the heat,
It cooled the air; nature has come to life,
And all the greenery seemed to be renewed.
Then on the window
All flowers are fresh
Spread out in all its glory
And the rain became fragrant,
Fresher and fluffier.
And the poor Flowers have been fake ever since
Stripped of all their beauty and thrown into the yard,
Like rubbish.

True talents do not get angry for criticism:
She cannot damage their beauty;
Some fake flowers
They are afraid of rain.

The end of the previous fable seemed to be not entirely polite towards the audience: with the words “God deliver us from such judges” as. a hint would be given... To dispel this impression, we show “Flowers” ​​as the last fable in the play. Three girls stand on the stage with large, roughly and clumsily painted paper flowers in their hands. The girls pretend to be artificial flowers, they feel very beautiful and look around proudly. In front of them, on the bottom step of the stage, with their arms crossed and their heads bowed, sit three other girls, modest and inconspicuous. These are fresh flowers that have not yet bloomed. Rain is depicted in music, on high notes. Complaining phrases must be divided between three fake flowers. During the rain, a transformation occurs with all the flowers: the fake flowers wilt and in the end fall from the girls’ hands, and the girls themselves quietly move away from the stage. Living flowers, on the contrary, gradually “bloom”: each one raised its head, straightened its back, one hand opened, the other extended, and each girl found herself holding a real flower. If it is impossible to get real flowers, you will have to take artificial ones, but made elegantly and tastefully. The reader approaches the girls, they hand him their flowers, he takes them, makes a bouquet and smells them.
Before the final quatrain, all participants in the performance come on stage wearing pioneer ties. They line up to the right and left of the reader with flowers, who is in the center. “True talents don’t get angry because of criticism,” say those on the left. “She cannot damage their beauty,” say those standing on the right. And they all finish together:
“Only fake flowers are afraid of the rain.”
With these words, everyone seems to be saying goodbye to the public, as if they are telling it: “We are not offended when we are criticized; fair criticism will only help us, and we will be grateful to you for it.”