Dramatic role play ideas

This classic dramatic play center is another favorite. Set up a hospital with a triage cot, doctor costumes and lots of props. No explanation is needed! This is one of the centers (like the grocery store and the restaurant) that the children are usually very familiar with. They love to be called “Doctor”! Click HERE for more pictures of the set-up.

Hot Drink Cafe – Dramatic Play Center

Warm up with a mug of hot chocolate and a fresh pastry at the “Star Drinks” hot drink cafe. Click HERE to see lots of photo inspiration.

Ice Cream Parlor – Dramatic Play Center

Chocolate and mint ice cream with cherries on top… coming right up! Preschoolers love to scoop and sell this summer treat to their friends. Click HERE to see more pictures.

Do your students love to reread the books that you share with them in class? Set your dramatic play area up as a Library. Allow them to “check out” books with their very own library card and return them to school the next day.

Pancake and Waffle

What’s for breakfast?! Add the pancake and waffle sets (available HERE and HERE from Melissa & Doug) to the kitchen and fire up the grill. Children will love the custom menus and all of the toppings for their delicious breakfast.

Make a brick oven from a cardboard box and a roll of “brick” wrapping paper. Preschoolers will make pizzas, and order pizzas, and deliver pizzas, and pretend to eat pizzas ALL.DAY.LONG! Click HERE to see all the photos.

Post Office – Dramatic Play Center

Invite children to write letters to the parents or grandparents, to make cards for their classmates, and to deliver the mail at the Post Office Dramatic Play Center. Click HERE to see lots of pictures.

Can we take your order? The restaurant dramatic play center is chock full of opportunities to practice reading, writing, and teamwork. Click HERE to see the menu and order forms that are perfect for emergent readers.

Sandwich Shop – Dramatic Play Center

Switch the general restaurant into a fast-food sandwich shop. With this dramatic play idea, students will follow the menu board from left to right to choose the bread, protein, vegetables, and toppings for their very own sandwich.

Would you like a taco or a burrito from this very popular Taco Stand? Preschoolers will take your order then create the taco or burrito of your choice. What a way to “spice” up the dramatic play center!

Vet Clinic – Dramatic Play Center

While you’re learning about zoo animals, pets, or even the farm, this dramatic play Vet Clinic is a great way to engage children in pretend play. They will care for the animals and become veterinarians, x-ray technicians, and nurses.

Transformed trifold science boards into a straw house, a stick house and a brick house for an adorable version of the Three Little Pigs. Preschoolers who can memorize and act out stories will have great comprehension skills when they get to school. It’s also fun act out Goldilocks and the Three Billy Goats Gruff.

Whether you’re setting up a plain restaurant, a pizza parlor, an ice cream shop, or a taco stand, here’s a surefire FUN way to spice it up. Add a drink machine! You can use a box or a bookshelf with just a few simple additions (paper cups and tissue paper) to make it extraordinary. Click HERE for more details.

If you’re looking for a quick set-up, cheap center, this is it! Get all the supplies from the dollar store and added water. It’s great for summer, too. Take those kids outside and put them to work! Sometimes the best dramatic play ideas are the simplest.

Put on paleontology hats and look for dinosaur bones and footprints at this dramatic play dig site. Click HERE to see how to use a simple ingredient from the craft store to turn the sensory table into an excavation site.

Do your kids like to pretend or role play? What is your favorite way to set it up? Whatever it is, have tons of fun playing and learning with your children today.

Be sure to follow this Dramatic Play Pinterest board for even more dramatic play ideas.

Follow Play to Learn Preschool’s board Dramatic Play Preschool on Pinterest.

All dramatic play idea printables are available HERE:

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Role (imaginary) game. Na you with autism

Role (imaginary) game

The child learns to role-play when you involve him in interaction with the help of imagination. You feed the doll and he feeds the doll; the doll holds out its arms and says, "Hug me one more time." Over time, the story develops, and the dolls begin to hug each other, feed each other, etc. The main thing is that the child has to take the initiative. Role-playing games help to create a world filled with a variety of symbols and increase the child's ability to use words and concepts. Usually, children during role-playing games at first simply repeat what they see at home - this is normal. But they can introduce the products of their own imagination from the very beginning.

At first they feed the doll like a mother, but then the doll suddenly pushes the food away and says “No” leaving the parents wondering where it came from. From a child's imagination.

In order to interest a child, one must properly prepare; it is useful to stock up on toy copies of household items so that the child can play out stories based on life experience; it is here that the imagination can first come into play. Dolls and plush animals can act as family members and friends of the baby. The child also needs the experience of living in the outside world - nature, walking, supermarkets, interactive children's museums, subway rides, playing in the sand. This experience can be relived in memory with the help of tools at hand to see what the child prefers to play at home.

Introduce elements of fiction into your child's favorite activities to expand role play. For example, if he is playing with kitchen utensils, imagine that he is a cook (and you can be a cook). Start acting out a story familiar to the child. Then get him to use his imagination, for this you will have to go to tricks: if the baby doll kisses your doll, your doll may run away and say: "Your doll must find me to kiss." Suddenly the monotonous game becomes exciting, the baby doll is looking for yours and catching it. In the meantime, continue to introduce new words, inviting your child to respond verbally and creatively. The main thing is to gesticulate and speak on behalf of your character, whether it be a doll, a puppy or a horse that you yourself portray while standing on all fours.

In order to systematically teach speech according to this principle, we have developed the Affect-Based Language Acquisition Course[19] (described in detail in chapter 20). Its main feature is to create a world of symbols, to consolidate the connection between new words and their meanings through real experience enriched by the child's emotions, and role-playing games (also emotional) that fill the inner world of the baby with meaningful symbols. Over time, the child's imagination develops: spaceships go to the moon, a ballerina impresses the audience, or sea monsters scare everyone.

As part of the role play, adults should share the child's interest in the imaginary world. For example, if a child is fascinated by a car, see if he drives a doll on it. But do not speak on your own behalf, but on behalf of the doll. Become a doll and show your child how to enter the fictional world. This will introduce him to new ideas and symbolic constructions. Ask on behalf of the doll: “Can I ride your car? Can? If you don't mind, I'll get into your car. " Then put the doll in the car with the child, and he can ride it. Then present another doll to the police and ask: “Where are you going? To grandma's house or to school? and point to two houses. The child may not even know what a grandmother's house and school are, but in this way he will learn it. He will simply point to one of the houses and say: "U, u." "There? you ask, “Well, this is grandma’s house.” - You can even put a photo of the grandmother next to the playground so that the child associates the proposed idea with the image of the grandmother.

Children with motor or sensory processing difficulties have difficulty imagining the world and therefore role-playing. For children with auditory processing disorders, it is sometimes necessary to break up instructions into simple, easy-to-repeat phrases. But you should not speak too slowly or monotonously, keep a normal rhythm and intonation so that the child learns to respond to the emotional content of your speech. Children with visual processing disorders have difficulty holding images of objects in their minds, so they also find it difficult to role-play. If such a child quickly jumps from one toy to another, help him connect their images with each other by explaining the roles of the toys again. For such a child, it is better to collect toys in easily visible groups so that they are not scattered everywhere.

Children with motor impairments who have trouble sequencing ideas because of problems with sequencing should be helped to role-play and play out their ideas. Turn activities such as singing or dancing into successive performances: introduce entertainers, bows, applause, etc.

This text is an introductory fragment.

Lesson 7.2. Psychology of the negotiation process to resolve conflicts. Situational role-playing game "Negotiations"[11]

Lesson 7.2. Psychology of the negotiation process to resolve conflicts. Situational role-playing game "Negotiations"[11] The purpose of the lesson. Development of business communication skills in negotiations; conflict resolution; reaching an agreement. Roles for participation in the game: 1. Specialists,

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what it is and the experience of using role-playing games in the game camp "Ariadne's Thread"

“It is pleasant to submit to your witchcraft. And we are, to some extent, happy to continue to contribute to your fun. - Metatheater does not recognize degrees…” J. Fowles, “Magician”

History of searches

At the beginning of the 20th century, with the advent of the director's theater, an active search for new forms began. Among other things, the directors wondered about the viewer - about his role, place in the performance, interaction with the actor.
Antonin Artaud, a famous French theatrical figure, in his search tried to make the viewer an accomplice of events, tried to destroy the usual forms. To make the viewer an accomplice - but at the same time leaving him in the hall, albeit a little differently (surrounding the events of the performance)! In search of the ideal theater, Jerzy Grotowski considered the rejection of the spectator as such and created a "paratheatre" - as if not a theater at all, but an "event", a theater that borders incredibly closely with life.

A new genre is developing in Europe these days - site-specific. Tatyana Vlasova, columnist for the Teatral magazine, in her article Leap into the Unknown, gives examples of performances created in this genre:

“In London, viewers of the performance You Me Bum Bum Train are instructed already at the entrance to the theater: - In critical situations, fold your arms over your chest and shout: “Escape!” You will be immediately taken to a safe place. However, there is no theater as such. The action takes place in the basement of an abandoned office on Bethnal Green. From a group of spectators, one is selected and led through the labyrinths of scenes with the participation of two hundred actors. Having descended on the elevator into the bowels of the building, he sees a deserted dark corridor in front of him. Numerous turns and basement darkness put pressure on the psyche. If you want to run away, you can't run away. And the farther from the elevator, the greater the "immersion in the proposed circumstances." First, the viewer is forced to travel around in a wheelchair, and then climb, crawl, run and cope with a dozen main roles. A noisy class appears around the next turn, and the schoolchildren take him for a teacher: they grab a button and begin to be rude. Around the other corner, a hard interrogation scene appears, where he must act as a strict police officer. For 40 minutes of “testing”, almost no one manages to remain silent.”

Tatyana Vlasova's article gives examples of other similar projects. Some areas of theatrical research have been going beyond academic theaters for over a century, and the third millennium that has just begun, as often happens in history, has become the catalyst for a new wave of trials. In recent decades, "happenings", performances, social projects using theatrical techniques have appeared. Now theatrical searches are being conducted in various areas of life, and one of the directions is presented in this article.

Role-playing games

Since ancient times, mankind has known a pastime similar to the theater - “role-playing games”. A kind of dramatic action, a kind of creativity in which the viewer disappears completely and completely, because he replaces the actor. The All-Union Games (“Hobbit Games”, held since 1990), which were attended by several hundred people, are widely known. Their tradition lives on to this day, sometimes gathering over a thousand players for one project (“To Die in Jerusalem”, summer 2013, more than 1000 players).

In 1991, the All-Russian Children's Center "Orlyonok" hosted an epic role-playing game "The Hobbit Games", which was attended by about 600 schoolchildren. The form of role-playing, in which each child is the performer of a role, has shown its great potential and has been taken into account by many educators.

In 1994 in the Kostroma region there was a children's camp of role-playing games "Centaur".
The camp gave teenagers the opportunity to visit an imaginary world and play the role of another person, an inhabitant of this non-existent world. For five years, camp teachers fixed one or another topic - for example, the novel by F. Herbert "Dune", so that each player could continue his story from year to year. A performance that lasted five years, a performance filled with events, conflicts, a performance without an audience but with players. Inspired by the idea of ​​role-playing as a new free theater, inspired by the idea of ​​immersing all space and time into a new plane - into the plane of an imaginary world - in 2010 we created the Ariadne's Thread children's camp for teenagers, which was based on role-playing as the principle of life on shift . Thus, in a completely separate way, we came to what many theatrical figures of the 20th century were talking about - to an ideal theater, to a live theater, where everything really happens right now and much is not planned in advance.

Role play is the basis of metatheater

The story about metatheater should begin with a story about what role play is, how and by whom it is organized, what tasks it solves. In the context of this publication, aimed at players and game masters, this information will be redundant.
Let us dwell on two fundamental points that distinguish the role-playing game from the academic theater.
Take a look at some feedback from the participants of the role-playing game "Paradise Lost" (Leningrad region, April 2009G.):

“…It was very cool to live and overcome the fear of death… I also remember Isabelle waiting for us on the shore of the lake, and the gray-blue landscape stretching behind her…” (Taisiya Isayeva) “…Pictures in the gray sky over the lake lay reality (nearby fishermen had to appreciate their horn description, which carried far and loudly). We have lost paradise. What they have found - everyone will decide for himself ... "(Akimova Irina)" ... A sea of ​​\u200b\u200bevents ... you think how not to drown in it ... and now you are standing on a narrow strip of land ... there is a beautiful lake in front of you, and unfortunately, in the distance you do not see very nice pictures……but the main thing is that next to you are people close to you, with whom you will have to build a new world…..and whether it will be as beautiful as Paradise Lost depends on you….” (Victoria Polyanskaya)

Note that landscape plays a significant role in these post-game emotional memories. In a closed theater hall, it can be created with the help of scenery or video, but this, of course, is not at all the same. Role-playing games are played in nature, in a natural setting, thus eliminating a considerable amount of theatrical conventions.

After all, this is what Chekhov's Kostya Treplev dreamed about - natural scenery, the surrounding reality, which itself becomes a source of emotions and an organizer of feelings, emphasizes the idea of ​​​​the work. And this is another win, characteristic of role-playing games.
The main difference between the game and the theater lies in the place of the viewer. It does not exist in the game, the viewer is completely replaced by the player. This makes it possible to fully experience the moments of moral choice, to feel emotions on oneself directly, and not through empathy with what one sees.
The term "metatheatra" was taken from John Fowles' novel The Magus. The protagonist, Nicholas Erfe, becomes a hostage to a cunning "game of God", which is played by a certain Maurice Conchis. Nicholas becomes a witness to a large number of very diverse stories scattered over time for decades. Nobody warned Mr. Erfe about anything, he did not buy tickets to the stalls. He just wanted adventure and languished from melancholy and loneliness - and got into the thick of things. At some point, Mr. Conhis calls everything that happens "metateatr" - an ideal theater, a theater without a spectator, in which the main spectator is Nicholas, but he is also the main character.
The proposed term comes directly from the book of John Fowles and has nothing to do with the term of L. Abel, who develops the concept of theater within the theater.
The term "metatheater" specifically replaces "role play" to denote the vector of quest that comes from role play and rushes into the theater. The existing experience of using role-playing games in the aspect of metatheatre is presented below.

Experience of the children's camp "Ariadne's Thread"

Shifts of the children's camp "Ariadne's Thread" are held in the Leningrad region. Depending on the time of the year and the requirements of the role-playing game, existing tourist bases are rented, which have access to work with children. Thus, many household concerns - accommodation, food, security, medical care - are provided to specialists, and the camp staff devotes itself to the pedagogical, psychological and creative content of the program. Of course, the organizers are responsible for the life and health of children.

At the moment there are a large number of guys who come to the camp from shift to shift. Almost everyone who has visited "NA" also comes and brings friends, many come "from outside" (a lot of information about the organization can be found on the Internet), so with each program there are more and more participants. On the first shift (in 2010) there were only thirty guys in the camp, this summer (2013) - 400. There are so-called "play breaks" in the camp, during which the action stops. The game world is saved, but game actions cannot be performed. During this non-playing time, there is a meal, hanging up and getting up, a quiet hour, and creative work. Game pauses are needed to take a break from active gaming activities, to analyze what is happening and build a strategy and plans for the upcoming game.

The instructors who lead the game and accompany the children are senior students or recent graduates of various universities in St. Petersburg. The task is not set to recruit creative specialists (be it actors, artists, etc. ), the organizers do not seek to recruit teachers. A role-playing game is an activity that is too multidisciplinary, and when developing it, when transferring life actions into a game model, specialists of different professions are needed. A variety of specialists are involved in the development of the rules, and the guys can try themselves in the role of various professionals - actors, psychologists, programmers, lawyers, doctors - the list is endless, but for each program it is specific and depends on the composition of the instructors.
All teachers go through a six-month counselor school to get acquainted with the basics of organizing such programs and working with children. Of course, half a year of classes is absolutely not enough for a full understanding, experience is very important here, so the organizers always try to look for people who are involved in role-playing games and understand what it is. And, of course, people who are gifted in this sense, who have a penchant for this kind of activity. As current experience shows, finding them is very difficult.

When the team is recruited, work on the shift begins: the plot, the rules of the game are created. This work lasts, on average, two months.
Before the shift, parents have the opportunity to leave an application for participation on the camp website, then they pay for this application at the office. At the appointed time, the guys and their parents gather in a certain place, say goodbye, and we take the players away towards adventure.

The game world

One of the main tasks of the first days, immersion of the children in the game world, begins already on the bus. They find out that they are not on the bus at all, that it is the Hogwarts Express or the Ghost Ship or something like that.
As the players emerge from their "Ghost Ship", they are greeted by educators. This, of course, is not “Marya Alekseevna” or “Vasily Nikolaevichi”. These may be the princes and princesses of Amber, the deans of Castalia, the Jedi of a distant galaxy. The reality surrounding the children - canteens, rulers, buildings - turns into fantasy. There is no dining room, but there is a living room. There is no ruler, but there is a Plateau at the edge of the world. There are no "chambers", there are royal chambers. On the second day of the shift, the guys themselves choose game names. This is a very important moment, which translates the ego of the players into the plane of the game, makes them part of the world. Now they are also not Petit, Masha and Vasya, but the Llewells, Korvins and Dvorkins.

This is also where the choice of a gaming profession takes place, when the guys choose the means and opportunities that they will have in the game. For example, you can become a lawyer and be able to legislate, work in court, you can become an economist, sell and buy resources for the good of your native country. Gaming professions are always painted with a fairy tale halo, they are not just functions, but can be the mysterious Order of the Jensaarai (the actors in the Star Wars program were), the Golden Circle Society (economists on the Chronicles of Amber) or a mighty stronghold " Minas Kund" (in which the politicians on the "Lord of the Rings" sat).
For three whole days, the guys are immersed in the game world.
And so, when it is clearly built, when the participants fall asleep in the Sunset of Belior, and with a runny nose turn to the Halls of Mandos, when everyone is familiar with the rules of the game, and the last “Mashenka” disappears from the camp and becomes Hermione, the game begins.

Gameplay

In a standard, "adult" role-playing game, the game unit is the player. The player has goals, has character, and so on. The peculiarities of the organization of the camp distort this axiom, turning the game group into a unit. The game group has a goal, there are game means. Goals can be very different. There are a lot of funds in the game, they are stipulated by the rules of the game. These are documents, and special abilities of various players, and economic resources, magical abilities. All funds revolve around playgrounds - game centers for specialists in various fields. For example, there may be a “stock exchange” playground where economists and lawyers can operate, there can be a King's residence where politicians and diplomats play. There are always some difficulties when it is necessary to describe this activity in words - it is too broad, too many-sided. This is the same as answering the question "what is theater" - a person who has never seen the stage will hardly be able to explain this.

The game process is closely related to the goal of the change - this is the same as the most important task of the performance in the theater. Before starting detailed work on the game, the teaching staff sets this goal, based on the relevance for the children and the artistic material.
For example, on the shift of The Chronicles of Amber, based on the cycle of novels by Roger Zelazny, work is underway on the sphere of the worldview of the children. According to the plan, during the shift, the players realize what a worldview is, how it affects people's behavior, understand that everyone has their own and there are no "good" and "bad", they are determined in more detail with a personal view of the world.

The game world assumes the presence of "Shadows" - parallel realities, which are a reflection of two True ones - Amber and the Possessions of Chaos. Each Shadow is a world based not on a core, like our Earth, but on a worldview. Everything there is subject to only one thing - the maxim, which reflects one or another worldview. For example, "boys are better than girls"; "no one can be trusted" and so on. The gameplay is multifaceted and consists of a large number of details, but boils down to one thing: the game groups must appropriate the Shadows, i.e. conquer. This conquest is quite peaceful (although it happens in different ways), it can be conditionally divided into stages:

• Fall into Shadow. Getting into Shadow is not easy. You need to collect the required number of spikarts - special keys. The shadow opens for a limited time, at the beginning of the game it is a minute. To get into the Shadow again and better understand its basis, you need to make a trump card - draw a small picture that reflects the first impression of the Shadow.
• Settlement of Shadow. The player who decides to assign the Shadow must first populate it. Specific paths are designed by the players, but in the end, those players who vividly and accurately win back the alignment of the Shadow receive settler tokens.
• Obtaining Assignment Rights. A player wishing to assign a shadow must obtain such a right. The ways to obtain this right are different for each role - for example, Grand Design (programmers) develops a program that should answer questions based on the desired worldview, Approximate Logrus (politicians) should create a state. shadow apparatus. If everything is done successfully, the player receives the Assignment Right.
• Obtaining the title of Old-timer. At the evening ritual (daily gathering of game centers) in Amber or in Chaos, the candidate for appropriation presents the Right of Assignment and the settlement tokens he collected from his friends. If his competitors didn't offer more tokens, he gets the Shadow, becomes its old-timer. Now this Shadow will be considered as belonging to him personally and his game group in the overall standings, however, it does not leave the game: it can be changed, it can be withdrawn for non-payment of the Shadow fee. Since the gameplay revolves around these small worldviews, there are many activities associated with them.

Pedagogical potential and achievements in work

Role play is a powerful tool that can be used (and is already used today) in almost all spheres of life. If we talk about the children's camp, then, of course, the experience that the player receives comes first.
Yes, players can see in the theater how people act in certain situations, how they communicate, how they behave in a family or any activity, yes, they can see it or read it in books, but role-playing offers a whole new level gaining experience: when you can try it for yourself. And the players are trying. They try to betray (how is that?), they try to love (can I?), they try to sacrifice their gaming life (what happens next?), they try to break the law (what happens to me?), they try, try, try.

The game is something very emotional, a whole boom of experiences. Therefore, it is very often possible to achieve catharsis - when in the final, as a result of either game-technical events or spontaneous game events, players experience emotional upheavals. For example. In the fall 2011 program, which was based on the video game Silent Hill and whose goal was associated with aggression, players bit by bit restored the story of a certain Christopher, his beloved Lily and the mysterious Mr. Priam. The story was based on Shakespeare's idea of ​​the nature of evil - that one can interrupt it by doing evil, or not interrupt it so that it continues on its own. During the game, the players gradually realized that all the darkest things in this story are due to Christopher, and at the end, Mr. Priam - the spirit of this world - gave them his photo and offered them a choice: they can tear it - and then Christopher will be destroyed, however they will do evil, but they can leave her alone - and then they will remain pure, but the evil will continue to exist.

The issue was decided by representatives from each game group in the presence of all delegations (then the guys were delegations from American cities). The discussion was tense and very emotional, and, as a result, the guys, each, took up the photo and simultaneously pulled it towards themselves, tearing it. Maybe then they acted irresponsibly, dividing the load among everyone, but they can hardly be condemned - they had to make a difficult decision, one that they rarely encounter or do not meet at all in real life.

Events like this, if properly planned and analyzed, have a strong influence on the players, and camp teachers actively use this to educate a morally developed personality.
At the end of the shift, in the last three days, it's time to take stock. Each child in a group and individual form, always accompanied by a teacher, verbalizes his emotional experience, transfers the game experience into a real one, and here work is polished to achieve the goal of the shift. This is one of the most important stages of the change, this is the gate between the worlds - ours and the game, and you need to go through them, carrying the most important things.

During the three years of the project's existence, the most notorious hooligans changed, parents repeatedly came with tears of gratitude in their eyes, the guys decided on a profession, began to read books, revealed themselves as leaders, made important decisions regarding their lives (changed schools, for example). The point here is also that during the shift in the camp there is a completely unique atmosphere. The atmosphere of involvement in something grandiose, the atmosphere of a common cause, the atmosphere of excitement and unity around the creation of gaming reality. Add to this the unique aroma of a miracle - and you get an explosive mixture in which, with the right approach, miracles can really happen.

Here are some reviews from the participants of our games and their parents (author's grammar):

"Christopher, Lilia, Priam. ... I wanted to cry, scream in despair, but at least somehow help them... at least somehow change this terrible story. When Christopher was on stage and told what happened to him in the cities , I almost cried. I wouldn’t even run if the crowd hadn’t taken it with me. And Lily .... this is pure love that suffered, but waited .... I will accept mixed feelings ... and anger for the fact that prompted, suggested and generally intervened in Christopher's life .... at the same time there was a little fear and curiosity when he appeared. Sasha Kirsanova

“When I first heard what we were going to do, I was shocked)) I didn’t like it so much that I was ready to draw on the walls) who knows, he will understand), swear with the counselors and much more)) But when Fnor (Petya) told me: "Dasha, Try it!!" I was completely delighted)) I really liked this game) it taught me to make important decisions and listen to people, since my profession was a lawyer (lawyer). I want to say a huge thank you to the Espada team and wish them more such shifts)) I hope to come to you next year)) Dasha Averkeeva

“And I will leave a review and impressions of the camp here. It may be useful to someone. Daughter Lucy is 11 years old. For the first time in my life I went to the camp. My motivation was that the child would be busy with something during the winter holidays. First of all, I chose the camp based on reviews, then on price, then at the place of stay. And so it happened that the choice fell on the "Thread of Aridna". How nervous and worried I was that my home girl would be uncomfortable there, bad and stuff like that. The worst thing for me was to put the child on the bus on the 2nd and send it 100 km away with strangers. Until recently, I kept telling the child If anything, we will immediately come and pick you up. And what do you think? My child never called. And when I did call her, there was so much joy and delight in her voice!!!!! The result of the trip was a grown-up child returned. Her speech changed. Words such as parasites disappeared, such as: in short, this is the very thing, well, there, etc., etc. She received so much knowledge. A week has passed, and she still has emotions.

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