The first part defines theoretical contexts of experts who place the character of the puppet in the center of activity. According to author Majaron (2006b, p. 97), “the puppet originates from rituals and has retained three levels of stylization: visual, motional and audial level.” Everyday life in a preschool is very much connected to puppets. In educational work that includes puppets, the support of an adult is very important, that is why we also define the role of a teacher in this part of the thesis.
The empirical, second part, describes different spontaneous artistic activities with hand puppets entirely designed by children themselves. We started with creating and designing each individual puppet that later came to life in the hands of children. In the central part, I, therefore, focus on my work with children and hand puppets, which were created through the process of cooperative learning, and I also present the puppet show directed and performed by the children themselves, for other children in the preschool and their families at the last meeting of the group. Achievements of all the children in the group are documented in the empirical part of the thesis.
The diploma thesis is concluded with findings on the achievements and performances of children in following, creating and reflecting on their own hand puppet play, and their awareness that they can achieve anything if offered an opportunity for artistic expression to strengthen cooperative learning with their peers in a spontaneous way by creating innovative puppet shows. Opinions of children, their and my observations were recorded regularly and are presented in the final part of the diploma thesis.
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