Iti theater pedagogy. Theater pedagogy as a universal means of human education

Nekrasova Lyudmila Mikhailovna

Candidate of Pedagogical Sciences, theater specialist,
Leading Researcher,
head of the theater and screen arts problem group
Institutions of the Russian Academy of Education
"Institute of Art Education",
Moscow

The concept of theater pedagogy is associated in Russia with the work of famous actors M. Shchepkin and V. Davydov. K. Varlamov and the director of the Maly Theater A. Lensky back in the 19th century. The theatrical pedagogical tradition itself began with the activities of the founders of the Moscow Art Theater K. S. Stanislavsky and V. I. Nemirovich-Danchenko. The goal of theater pedagogy is the professional training of the future actor and director. The legacy of K. S. Stanislavsky and his “system” of teaching acting and directing are the fundamental sources of the entire theatrical process to this day. In the works of such students of Stanislavsky as E.B. Vakhtangov, V.E. Meyerhold, M. O. Knebel, V. O. Toporkov, M. A. Chekhov, as well as in publications by directors A. D. Popov, B. E. Zakhava, P. M. Ershov, O. N. Efremov, G. A. Tovstonogov, A. V. Efros, theater pedagogy acquired its status and content, but did not go beyond the professional educational institution and theater.
During the 20th century, theater pedagogy gradually and purposefully began to be mastered by another sphere - school education, which is directly related to children.
How pedagogical phenomenon The problem of “theater and children” dates back to the very beginning of the twentieth century. In 1915, a children's subsection worked as part of the All-Russian Congress of People's Theater Workers. Some of the materials about her were published in the magazine “People's Theater” in 1916 and 1919. From these documents it becomes clear that the activities of church and secular theater groups, professional theaters performing for children, amateur troupes, school theaters, as well as organizations that engaged in role-playing games with children, were considered as phenomena of the same order. The first repertoire collections " Home theater"(1906–1913) and "The Curtain Is Risen" (1914) appeared even before the October Revolution. And in 1918 and 1919, magazines and non-periodic publications began to appear, specifically devoted to the topic children's theater line creativity: “Game”, “Theater and school”, “Plays for school theater”, “Children’s theater”.
In the 20s, many publications appeared on the topic “theater and children”, they were published in the publications “New Spectator”, “Life of Art”, “Rabis”, “Pedagogical Thought”, “On the Ways of a New School”, etc., but Problems of relationships between children and theater were still interpreted widely. The appearance of works by major figures in professional children's theater: A. A. Bryantsev, N. I. Sats, S. Ya. Gorodisskaya, S. M. Bondi, A. I. Solomarsky expanded the range of discussed problems, since they identified new topic: interaction of Theaters for Young Spectators with their audience, including children's theater groups.
In the thirties and forties, there was a certain decline in activity in discussing the problem of “theater and children” on the pages of the press. This was due to the specific historical situation existing in the country. Only repertory collections containing ideologically selected literary works are published regularly. However, it was during this period that professional actors and directors came to schools and Pioneer Houses, who laid new traditions of the children's theater movement.
At the end of the forties at the Institute artistic education The Academy of Pedagogical Sciences of the RSFSR creates a theater laboratory, which becomes a kind of center for research work in two areas: children's theatrical creativity and professional art intended for children. Since 1947, the laboratory begins to publish the scientific and methodological collection “School Theater,” which is dedicated to the problems of the theater in which children play, regardless of whether it operates at a school, the House of Pioneers, or a rural club. In the period from 1960 to 1986, the theater laboratory, together with the Cabinet of Children's Theaters of the All-Russian Theater Society (VTO), published scientific collections “Theater and School”. On the pages of the collections, directors, actors, and teachers discussed both the issues of interaction of professional theaters with their children and youth audiences (problems of perception of the performance, education of theatrical culture), and various forms of the presence of theatrical art in school.
In the 50s and 60s scientific research Laboratory of the Scientific Research Institute of Chemical Arts had two main directions: children's theatrical creativity, including work on artistic reading and stage movement, as well as the study of the problems of professional theater for children and the perception of theatrical art by children of different ages school age.
The 70s and 80s were years of active research into the possibilities of theatrical art, both as a tool for general artistic education, and as a search for the diverse use of theater as a means in the school educational process. At this time, the laboratory staff published two serious monographs that summarized the results of research over two decades: “Theater and the Teenager” by Yu. I. Rubina (1970) and “Fundamentals of pedagogical management of school amateur theater performances” [Yu. I. Rubina, T. F. Zavadskaya, N. N. Shevelev, 1974). It should be noted that both publications have not lost their relevance in terms of the ideas contained in them, and practical significance for modern theater teachers. In fact, the staff of the theater laboratory of the Scientific Research Institute of Art and Culture developed the concept of pedagogical management of amateur theater for schoolchildren.
The concept considered “the general orientation and objectives of theatrical art classes with children in conditions secondary school, the role and functions of the lesson leader, the connection between children’s theatrical creativity and the basics of professional art, the possibility of teaching schoolchildren the basics of stage literacy.” In this sense, the use of theatrical methods in the classroom is effective not only in the study of drama, but also in the analysis of narrative and poetic works.
The literature lesson presented researchers with extremely diverse opportunities for including all schoolchildren in that sphere of acting and directing activity, which is associated with “awareness of one’s own attitude to the literary basis of the performance and is limited by the period of birth of the stage idea” (26, p. 22). Laboratory employee L.A. Nikolsky developed a model of a student’s director’s creativity in a literature lesson. It was based on “the principle of individual choice, the identification and enlargement by students of such figurative and emotional components and motifs of a work of art, which, for subjective reasons or due to the relevance of their sound, attracted attention, seemed especially significant or impressive in the endless richness of the multifaceted image of a play, story, story, etc.” . And today, the patterns of students’ creative searches and problems identified by the researcher seem extremely relevant. theater director, working on the concept of the performance:
1) an associative-figurative generalization of the perception of the play and an initial analysis of its emotional sound;
2) effective-motivational analysis of dramatic material:
a) identifying the main characters of the future performance, interpreting the motives of their behavior and the nature of their interaction;
b) determining the main episode of the play, revealing the event and structure of the action of this episode and its figurative system;
3) identification of visual and musical images plays, the nature of their stage implementation.
As L.A. Nikolsky writes, “...for a student, solving each of the assigned tasks is a stage in the formation of his own idea for the performance and, at the same time, a stage in individual comprehension of the drama.”
It should be noted that it was in the 80s that the term “theater pedagogy” began to be actively used in the field of school education. Of great scientific interest in these years are the works of A.P. Ershova, which are devoted to the analysis of the problem of universal accessibility of theatrical and performing activities. The idea of ​​widespread use of artistic and educational opportunities for theatrical creativity in secondary schools was successfully tested in the previous decade. The use of theatrical and creative methods in literature lessons was part of this educational direction.
Research from the theater laboratory in the 1980s made it possible to prove that teaching theater arts in secondary schools effectively influences educational performance. educational process generally. Creative theatrical activities of all schoolchildren and the deepening of spectator culture “can significantly increase the level of emotional responsiveness and organization of students, their mobility and training of attention, memory, and a responsible attitude towards their words, deeds and actions.” Widespread experimental work and the introduction into teaching practice of methods developed in the laboratory proved that classes in theatrical performing arts have great educational potential as training and development of different types of communication and teamwork skills. "Game of Behavior" as a moment acting art“, arising at any point in the classroom space and constantly changing the places of spectators and performers, requiring collective coordination of actions, is a pedagogical tool unique in its structure.”
So, considering theater pedagogy as an interdisciplinary direction, we can highlight the following areas of its application:
- children's theatrical creativity in the form of amateur theater (school theater, studio theater, theater at the House of Creativity or other artistic association). Accordingly, training of specialists, directors and teachers working with children;
- theater lessons in the educational space of the school: the use of theatrical techniques and methods in teaching academic disciplines, actual theater lessons. Accordingly, training existing school teachers in the basics of acting and directing and training specialists to conduct lessons at school;
- education of theatrical culture and study of children’s perception of theatrical art of different ages. Accordingly, training teachers in the basics of spectator culture.
It was in the 80s that the activity of a teacher-director or theater teacher became a special problem of the modern school. “Theater turned out to be the only art form in the school that was devoid of professional leadership. With the advent of theater classes, electives, and the introduction of theater pedagogy into general educational processes, it became obvious that a school cannot do without a professional who knows how to work with children, as has long been realized in relation to other types of art.” It should be noted that this problem has not been solved even after a quarter of a century. Professional personnel for theatrical work with children are not trained either in pedagogical or in theater institutes. The problem is being solved by the Institutes for Advanced Training of Education Workers, but this is not the subject of our consideration.
As a special case of solving this problem, we can consider the activity creative association"Moscow School Theater", which was created on the basis of the Institute of Art Education in 1987. The Regulations on the Moscow School Theater say that it is “designed to assist Moscow schools in shaping the artistic, creative and spectator culture of children, strengthening the school’s ties with professional artists and providing organizational, methodological and advisory assistance to children’s theater groups.” For a decade, the Moscow School Theater became a scientific and methodological base in Moscow for regular advisory assistance to teachers-leaders of school theater groups who do not have professional training.
For this purpose, talented teachers, professional directors, actors, artists and playwrights were involved in working with children. The leaders of the Moscow School Theater set themselves the goal of qualitatively enriching the pedagogy of children's stage creativity, as well as introducing theatrical pedagogy into general education and educational processes at school. Unfortunately, the commercialization of some areas of additional art education, which began in our country in the late 90s, did not allow this association to be realized.
In the 80s, this form appeared and began to spread. theater education and education of schoolchildren, like theater classes. A. P. Ershova and V. M. Bukatov, members of the theater laboratory of the Institute of Art and Culture of the Russian Academy of Education, who have been involved in the problems of theater education for many years, proposed their own classification of the experience of theater classes, based on the interpretation of the concept of “children’s theatrical creativity.” According to their characteristics, there are three types of theater classes:
- class clubs, “in which theatrical art is considered as a means of general development of schoolchildren”;
- class theaters, the activities of which “are based on the educational opportunities for schoolchildren to participate in the creation of a performance as an integral work”;
- class-school; the heads of these schools “see maximum benefit from the inclusion of the student in mastering the technique and literacy of theatrical art, i.e. rely on the educational possibilities of theatrical training."
The authors supported the then-current idea of ​​the need to open theater departments in art schools. Organize the process of initial and secondary vocational education children is possible “only as a result of theater pedagogy’s awareness of its subject, the sequence of its development, the boundaries and possibilities of individuality at each age,” wrote the authors of the concept of theater education.
In the early 90s, the pedagogical community actively discussed the socio-game style of teaching, the origins of which were a team of elementary school teachers - V. N. Protopopov, E. E. Shuleshko, L. K. Filyakina, and further development belonged to A. P. Ershova and V. M. Bukatov. Socio-game approaches were initially developed on the basis of teaching reading, writing and mathematics to children in primary school, as well as in classes with preschoolers in kindergarten. At the same time, socio-game techniques were also developed in teaching teenagers the theatrical and performing arts. At this time, active enrichment took place developing direction techniques of theatrical pedagogy. The development scientists argued that socio-game approaches to teaching practice are characterized by a lack of discreteness; in them, didactic knowledge and advice are not divided into parts: principles and methods are separate, and the result is separate. “As the authors and developers of “socio-game pedagogy,” write A. P. Ershova and V. M. Bukatov in their monograph “Communication in the Lesson, or Directing the Teacher’s Behavior,” we had to hear that teachers, especially in primary grades, always used and use various – for example, didactic – games. But the socio-game style is the style of the entire teaching, the entire lesson, and not just one element of it. These are not separate “insert numbers”, this is not a warm-up, rest or useful leisure, this is the style of work of the teacher and children, the meaning of which is not so much to make the work itself easier for the children, but to allow them, having become interested, to voluntarily and deeply get involved in it.”
In many years of experimental work, in a large number of seminars conducted by researchers with teachers in different regions of the country, they combined two areas: the artistry of pedagogical work and the socio-game style of teaching. When these two directions were joined by hermeneutics, the study of which was carried out by V. M. Bukatov, a new, somewhat unusual and intriguing term for teachers appeared - “dramo-hermeneutics”. The authors of the study wrote that “drama-hermeneutics is a variant of teaching and educating the joint living of a lesson by all its participants, including the teacher. As a direction in pedagogy, it is still awaiting its detailed description, further development and wide distribution."
Drama-hermeneutics arose at the interweaving of three spheres: theatrical, hermeneutic and pedagogical. In each area, central positions were chosen. In the theater it is communication, effective expression, mise-en-scène; in the hermeneutic – individuality of understanding, wandering, strangeness; in pedagogy – humanization, exemplary behavior, dichotomy. The authors emphasized that “drama-hermeneutic definitions are not characterized by rigid discreteness; they are emphatically conditional in nature, naturally “flowing” into each other and being reflected in each part of the integrity.”
It should also be noted that the direction of the research activities of the theater laboratory is devoted to the study of the problem of the child’s relationship with professional art. This direction was widely reflected in the research of A. Ya. Mikhailova, devoted to the study of spectators of primary school age, and the works of Yu. I. Rubina, covering the whole spectrum of the problem of “theater and the young spectator”. Back in the 70s, the theater laboratory successfully solved the main problems of aesthetic education through the means of theater. It can be argued that the laboratory actually studied the process of theatrical education, considering as mandatory components of the latter, the unity of live stage impressions and certain knowledge about the theater, direct spectator experience and its critical understanding. The process of theatrical perception is carried out at several levels - from the direct aesthetic and emotional experience of the performance to its subsequent interpretation and evaluation. As researchers point out, each of these stages of perception requires special skills, special training, ultimately leading to a holistic judgment about performing arts.
Based on data from a study of children's artistic interests conducted by the Institute of Artistic Education of the Academy of Sciences of the USSR (1974, 1983), the laboratory solved the problem of developing schoolchildren's need for theatrical art. The need for a particular form of art is determined to a large extent by the skills of using this art. The program of the so-called “aesthetic decade” in the field of theater presupposed, on the one hand, an appropriate structure of the theatrical repertoire, taking into account the needs and capabilities of various age groups spectators, on the other hand, a systematic and thoughtful introduction to this repertoire of schoolchildren. For both theatrical and pedagogical practice, the issues of the age orientation of performances, the specifics of the stages of child development and the age-related characteristics of artistic perception become extremely relevant.
Based on a generalization of many years of experimental experience, the Laboratory is developing a set of programs dedicated to the education of theatrical culture for schoolchildren of different ages: “Fundamentals of Theater Culture” (1975), “Fundamentals of Theater Culture for Schoolchildren” (1982), “Theater” (1995). The widespread introduction of programs into the practice of secondary schools requires a teacher with theatrical knowledge and performance analysis skills. That is why seminars on spectator culture, lesson directing, and theatrical and playful teaching techniques, conducted by laboratory staff, are so in demand.
In conclusion, I will give one more quote from the monograph of my colleagues: “Upbringing and teaching are inextricably linked with the teacher’s ability to influence students during communication, influence their actions, stimulate their positive activity and restrain negative activity. These skills go beyond the scope of any applied subject methodology and constitute a pedagogical technique, which clearly must be based on a culture of action and interaction. And this is precisely the subject of the theory and practice of theatrical art.”
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The synthetic nature of theatrical art is an effective and unique means of artistic and aesthetic education of students, thanks to which children's theater occupies a significant place in the general system of artistic and aesthetic education of children and youth. The use of theatrical art in the practice of educational work contributes to the expansion of general and artistic outlook students, general and special crop, enrichment of aesthetic feelings and development of artistic taste. education art game behavior

The founders of theater pedagogy were such prominent theater figures as Shchepkin, Davydov, Varlamov, and director Lensky. The Moscow Art Theater and, above all, its founders Stanislavsky and Nemirovich-Danchenko brought with them a qualitatively new stage in theater pedagogy. Many actors and directors of this theater became prominent theater teachers. All theater teachers know the two most popular collections of exercises for working with students of acting schools. This is the famous book by Sergei Vasilyevich Gippius “Gymnastics of the Senses” and the book by Lydia Pavlovna Novitskaya “Training and Drilling”. Also wonderful works by Prince Sergei Mikhailovich Volkonsky, Mikhail Chekhov, Gorchakov, Demidov, Christie, Toporkov, Dikiy, Kedrov, Zakhava, Ershov, Knebel and many others.

In the first half of the 19th century, student theater groups became widespread in gymnasiums, not only in the capital, but also in the provincial ones. From the biography of N.V. Gogol, for example, it is well known that while studying at the Nizhyn gymnasium future writer not only successfully performed on the amateur stage, but also directed theatrical productions and wrote scenery for performances.

The democratic upsurge of the late 1850s and early 1860s, which gave rise to a social and pedagogical movement for the democratization of education in the country, contributed to a significant intensification of public attention to the problems of education and training, and the establishment of more demanding criteria for the nature and content of educational work. Under these conditions, a heated discussion is unfolding in the pedagogical press about the dangers and benefits of student theaters, which began with an article by N.I. Pirogov “To be and to appear.” The public performances of high school students were called “a school of vanity and pretense.” N.I. Pirogov posed the question to youth educators: “...Does sound moral pedagogy allow children and young people to be exposed to the public in a more or less distorted and, therefore, not in their real form? Do the ends justify the means in this case?

The critical attitude of the authoritative scientist and teacher to school performances found some support in the teaching community, including K.D. Ushinsky. Some teachers, based on the statements of N.I. Pirogov and K.D. Ushinsky, even sought to provide some kind of “theoretical basis” for banning students from participating in theatrical productions. It was argued that pronouncing someone else's words and depicting another person causes antics and a love of lying in the child. The critical attitude of the outstanding figures of Russian pedagogy N.I. Pirogov and K.D. Ushinsky towards the participation of schoolchildren in theatrical productions was apparently due to the fact that in the practice of school life there was a purely ostentatious, formalized attitude of teachers towards the school theater.

At the same time, at the end of the 19th - beginning of the 20th centuries, a conscious attitude towards theater as the most important element of moral, artistic and aesthetic education was established in domestic pedagogy. This was largely facilitated by the general philosophical works of leading Russian thinkers, who attached exceptional importance to the problems of the formation of a creative personality and the study of the psychological foundations of creativity. It was during these years that national science(V.M. Solovyov, N.A. Berdyaev, etc.) the idea that creativity in its various expressions constitutes moral duty, the purpose of a person on earth, is his task and mission, that it is the creative act that pulls a person out of a slavish forced state in the world, raises him to a new understanding of being.

Research by psychologists who stated that children have the so-called "dramatic instinct" “The dramatic instinct, which is revealed, judging by numerous statistical studies, in children’s extraordinary love for theater and cinema and their passion for independently playing all kinds of roles,” wrote the famous American scientist Stanley Hall, “is a direct discovery for us teachers.” new strength V human nature; the benefits that can be expected from this power in pedagogy, if we learn to use it properly, can only be compared with those benefits that accompany the newly discovered power of nature in people’s lives.”

Sharing this opinion, N.N. Bakhtin recommended that teachers and parents purposefully develop the “dramatic instinct” in children. He believed that for preschool children raised in a family, the most suitable form of theater is the puppet theater, the comic theater of Parsley, the shadow theater, and the puppet theater. On the stage of such a theater it is possible to stage various plays of fairy-tale, historical, ethnographic and everyday content. Playing in such a theater can usefully fill free time child under 12 years of age. In this game you can prove yourself to be both the author of a play, staging your favorite fairy tales, stories and plots, and a director and an actor, playing for all the characters in your play and a master needleworker.

From puppet theater, children can gradually move on to a passion for dramatic theater. With skillful guidance from adults, children's love of dramatic play can be used to great advantage in their development.

Acquaintance with the publications of the pedagogical press of the late 19th - early 20th centuries, statements by teachers and children's theater workers indicates that the importance of theatrical art as a means of educating children and youth was highly appreciated by the country's pedagogical community.

The First All-Russian Congress on Public Education, held in St. Petersburg in the winter of 1913-14, paid interested attention to the problem of “theater and children”, at which a number of reports were heard on this issue. The resolution of the congress noted that “the educational influence of children’s theater is felt in full force only with its deliberate, expedient production, adapted to children’s development, worldview and national characteristics of this region." “In connection with the educational impact of children’s theater,” the resolution also noted, “there is also its purely educational significance; dramatizing educational material is one of the most effective ways to apply the principle of visualization.”

The issue of children's and school theater was also widely discussed at the First All-Russian Congress of People's Theater Workers held in 1916. The school section of the congress adopted an extensive resolution that touched upon the problems of children's, school theater and theater for children. In particular, it was noted that the dramatic instinct inherent in the very nature of children and manifested from the very early age, should be used for educational purposes. The section considered it necessary “that in kindergartens, schools, orphanages, school premises at children’s departments of libraries, people’s houses, educational and cooperative organizations, etc., an appropriate place should be given to various forms of manifestation of this instinct, according to the age and development of the children, and namely: the organization of games of a dramatic nature, puppet and shadow shows, pantomimes, as well as round dances and other group movements of rhythmic gymnastics, dramatization of songs, charades, proverbs, fables, telling fairy tales, the organization of historical and ethnographic processions and celebrations, staging children's plays and operas" . Taking into account the serious educational, ethical and aesthetic significance of the school theater, the congress recommended the inclusion of children's parties and performances in the school's program of activities, and the initiation of petitions to the relevant departments for the allocation of special funds for the organization of school performances and holidays.

Progressive teachers not only highly appreciated the possibilities of theater as a means visual learning and consolidating the knowledge acquired in school lessons, but also actively used various means of theatrical art in the everyday practice of educational work.

Everyone knows the interesting theatrical and pedagogical experience of our great theorist and practice of pedagogy A.S. Makarenko, talentedly described by the author himself.

Interesting and instructive is the experience of educating pedagogically neglected children and adolescents using theatrical art, gained by the outstanding teacher S.T. Shatsky. The teacher considered children's theatrical performances as an important means of unity children's group, moral re-education of “street children”, their familiarization with cultural values.

In our time of major social changes, the problem of intellectual and spiritual employment of young people is extremely acute. The vacuum is filled by antisocial preferences and tendencies. The main barrier to the criminalization of youth is active spiritual work that meets the interests of this age. And here, the school theater, armed with the techniques of theatrical pedagogy, becomes the club space where a unique educational situation develops. Through a powerful theatrical tool - empathy, educational theater unites children and adults at the level of common cohabitation, which becomes an effective means of influencing the educational and educational process. Such an educational theater club has a particularly important influence on “children from the street,” offering them informal, frank and serious communication on topical social and moral issues, thereby creating a protective, socially healthy cultural environment.

Currently, theatrical art in the educational process is represented by the following areas:

• 1. Addressed to children professional art with its inherent general cultural values. In this direction of aesthetic education, the problem of the formation and development of the spectator culture of schoolchildren is solved.
• 2. Children's amateur theater, existing inside or outside the school, which has unique stages in the artistic and pedagogical development of children. Amateur school theater is one of the forms additional education. School theater directors create original programs and set tasks to serve young audiences. Both the first and second represent a significant scientific and methodological problem.
• 3. Theater as an educational subject that allows you to implement the ideas of a complex of arts and apply acting training in order to develop the social competence of students.

Artistic creativity, including acting, uniquely and vividly reveals the nature of the personality of the child-creator.

The main problem in modern theater education for children is the harmonious dosage of technical skills in the educational and rehearsal process, along with the use of the free playful nature of children's creativity.

Theater pedagogy, the goal of which is to develop expressive behavior skills, is used in the professional training and retraining of teachers. Such preparation makes it possible to significantly change a regular school lesson, transform its educational goals, and ensure the active cognitive position of each student.

Speaking about the system of additional education, it should be noted that in addition to being scientific, an equally important principle of pedagogy is the artistry of the educational process. And in this sense, the school theater can become a unifying club space for informal socio-cultural communication between children and adults through the means of perceiving an original artistic phenomenon.

It is worth remembering that the heyday ancient Hellas The ritual of living together by city residents owes much to the great dramaturgy of their fellow tribesmen during performances, in the preparation and performance of which almost the entire city was involved. Mastering educational material through living transforms knowledge into beliefs. Empathy is the most important educational tool.

A big problem has recently arisen in connection with the commercialization of children's creativity, including acting. The desire for a quick result has a detrimental effect on the pedagogical process. The exploitation of external data, natural emotionality, and age-related charm destroys the process of becoming a future artist and leads to the devaluation of his values.

It must be remembered that the theatrical educational process, due to its unique synthetic playful nature, is a powerful means of education precisely through living the spiritual cultural models of humanity.

In this regard, it should be noted that in recent years the socio-game style has become widespread in theater pedagogy. “Socio-game style in pedagogy” received this name in 1988. He was born at the intersection of humanistic trends in theater pedagogy and cooperation pedagogy, which is rooted in folk pedagogy.

An urgent need social change in society has inspired many teachers to search for a new level of democratization and humanization of the pedagogical process.

Carefully adopting from folk pedagogy the spirit of democracy, age-related cooperation, syncretism of the learning process and, enriching this with a base of practical exercises from theater pedagogy, based on the method of K. S. Stanislavsky and the “theory of action” by P. M. Ershov, the socio-game style allows us to rethink, first of all, the role of the teacher in the educational process. The leading role of the teacher has long been defined and entered into practice as one of the main didactic principles. But every historical time presupposes its own level of democracy, the process of harmony between people and a new understanding of the role of the leader and, in particular, the teacher. Each sovereign person, at the time necessary for the common cause, responsibly and consciously finds his place in general process doing - this is probably how we can define a new level of harmony to which cooperation pedagogy and, in particular, theater pedagogy strives. This does not cross out the principle of another level of the “do as I do” mode, but it presupposes a more wide scope manifestations of student independence and, above all, his right to make mistakes. It is important to establish equality between student and teacher. A teacher who has or allows himself the right to make a mistake, thereby removes the fear of the independent action of a student who is afraid of making a mistake or “hurting himself.” After all, the teacher is constantly tempted to demonstrate his skill, correctness and infallibility. In this sense, in every lesson he trains himself more, honing his skills and demonstrating them with greater “brilliance” in front of “illiterate and completely inept children.” For such a teacher, a mistake is equal to a loss of authority. Authoritarian pedagogy and any authoritarian system rest on the infallibility of the leader and the fear of losing it. For theater pedagogy, first of all, it is important to change this position of the teacher, i.e. remove the fear of error from him and his students.

The first stage of mastering theater pedagogy in its dominant pursuit is precisely this chain - to give the opportunity to “be in the shoes” of the student and see from the inside what is happening to those we teach, to look at ourselves from the outside. Is it easy to hear the task, does the student-teacher even know how to hear the teacher and, above all, his colleagues? It turns out that most teachers have these skills much worse than “inept and illiterate children.” Student teachers are given the task of working on an equal footing with their colleagues, and not demonstrating their acquired ability to “shut everyone up,” or keeping silent in a corner.

Teachers often do not have the patience to let children “play out” and “do something.” Seeing an “error”, the teacher immediately strives to eliminate it with his lengthy and not yet in demand explanations or “brilliant” hints. So the fear “that they might do something” gets to their hands, as a result of which students stop creating and become executors of other people’s ideas and plans. The pedagogical desire to “do good more often and more” is often only a subconscious desire to declare one’s importance, while children themselves can figure out the mistakes that guide their search. But the teacher wants to constantly prove his importance, necessity and right to love and respect.

Theater pedagogy suggests seeing significance in the very organization of the search process, the organization of a problematic situation-activity in which children, communicating with each other, will discover new things through problem-based play, trial and error. Often children themselves cannot organize such search and creative activities and are grateful to the person who organized the holiday of exploration and communication for them. But the holiday will not take place if the “master of the house” is feeling unwell. Equality between the teacher and children not only in the right to make mistakes, but also in adequate interest. An adult should also be interested in the game; he is the most active fan of the success of the game. But his role in it is organizational; he has no time to “play around.” The organizer of the holiday is always in trouble about “products”, “fuel” for interesting mental activity of children.

Teacher-organizer, entertainer of game didactic activities performs in in this case as a director of creating a situation of friendly communication through control over your own behavior and the behavior of students.

The teacher needs to have a perfect command of the content material of the subject, which will give him confidence in behavior and speed in his game-based methodological transformation of the material into a game-based task form. He needs to master the techniques of directing and pedagogical scenarios. This means being able to translate educational material into game problem tasks. Distribute the lesson content into meaningful, logically interconnected episodes. Open main problem educational material and translate it into a sequential series of game tasks. It may be in the form didactic game, and in the form of a role-playing game. It is necessary to have a large arsenal of game moves and constantly accumulate them. Then we can hope for the possibility of improvisation during the lesson, without which the lesson will become routinely dead.

It is important to develop a range of control over your behavior in communication. Master acting and teaching skills, master a variety of techniques of influence. It is necessary to own your bodily mobilization and be an example of business determination. Exude a joyful feeling of well-being, despite mistakes and failures. We strive to neutralize any positional conflicts that arise in educational work with our businesslike approach, without entering into altercations. Be able to manage the initiative, regulating the tension of forces and the distribution of work functions of the participants in the process. To do this, make full use of the levers of perseverance: different (starting from a whisper) voice volume, its height, different speeds of movement around the class and speaking, additions and additions, changes in various verbal influences. In any activity, strive to discover the friendly interests of the students and the teacher. And not to declare it, but to actually find it, without replacing it with pedagogical pharisaism about universal love and the need to acquire knowledge. Always strive to proceed from the actual proposed circumstances, from how it really is, and not how it should be. Destroy the bacillus of double morality, when everyone knows and does as it is, and speaks as is customary.

The following game rules help the teacher to develop and strengthen the union of equal participants in the game-learning process:

• 1. The principle of improvisation. “Here, today, now!” Be ready to improvise in tasks and conditions of its implementation. Be prepared for mistakes and victories for both your own and your students. Overcoming all obstacles is met as an excellent opportunity for children to communicate lively with each other. Seeing the essence of their growth in moments of misunderstanding, difficulty, questioning.
• 2. Don’t “chew” every task. The principle of information deficiency or silence. “I didn’t understand” in children is often not associated with the process of understanding itself. This could be simply a defense - “I don’t want to work, I’ll take time”, a desire to attract the teacher’s attention and the school habit of “freeloading” - the teacher is obliged to “chew everything and put it in his mouth.” Here the comments are necessary, business-like, the most urgent, giving the initial guidance for the joint activities and communication of children with each other. It is necessary to give the opportunity to clarify with peers a really unclear question. This does not mean writing off what our children have long been accustomed to, it means legalizing mutual assistance. Such clarification is more useful for both than repeated explanations from the teacher.
• 3. Even if the children do not really understand the task, but they are doing something, do not rush to interrupt and explain the “correct” option. Often, performing a task “incorrectly” opens up new possibilities for its application, a new modification that would not have been thought of before. Perhaps what is more important here is the children’s activity itself, and not the correct fulfillment of the task conditions. It is important that there is a constant opportunity for training in finding a solution to the problem and independence in overcoming obstacles. This is the principle of the priority of student initiative.
• 4. Often a teacher experiences acute negative emotions when faced with children’s refusal to complete a task. He “suffered, created, invented at night” and brought the children a “gift” for which he expects a natural reward - joyful acceptance and embodiment. But they don’t like it, and they don’t want Demyanova Ukha. And immediately there is resentment towards the “refuseniks”, and, in the end, the conclusion is “they don’t need anything at all!..”. This is how two warring camps of students and teachers appear, strikebreakers who are excellent students and those who are “difficult.” Difficult ones are those who cannot or do not want to please the teacher. The principle of student priority: “The viewer is always right!” The advice here is to restructure your overall attitude towards refusal. If you try to see in it a hint for yourself, the real “feedback” that teachers dream of, then it will be perceived as a reciprocal gift from the child. Firstly, he showed his independence, the independence that you were going to cultivate in him. And secondly, he drew the teacher’s attention to the need for a more thorough assessment of the level of training and interests of students. This will help to find the adequacy of the task to the level of need for it.
• 5. One of the central techniques is working on a task in small groups. It is here, in a situation of mutual complementarity and constant change of role functions, that all the techniques and skills to create a common harmony in working together. A change in role functions is being developed (teacher-student, leader-follower, complementary), since the composition of the groups is constantly changing. There is an objective need to include each group member in the work, since holding responsibility for the group may fall to any of the participants by lot. This is the principle of action, not ambition. “Today you play Hamlet, and tomorrow you are an extra.”
• 6. The principle “Don’t judge...” Tact is developed in the ability to “judge” the work of another group based on the case, and not on personal sympathies and claims, which result in mutual grievances and pain. To avoid such “showdowns,” the teacher needs to establish business-like, specific criteria for assessing the completion of tasks. For example: did you or didn’t manage to meet the deadline? Were all or not all group members involved in demonstrating the answer? Do you agree or disagree with the answer? Such unambiguous criteria, not related to assessments “like - dislike, bad - good,” initially control, first of all, the organizational framework of the task. In the future, studying evaluation criteria, students learn to track and note the objective, rather than taste, aspects of a phenomenon. This makes it possible to alleviate the problem of clashing ambitions in teamwork and more constructively keep track of the material mastered.

By periodically giving the role of “judge” to students, the teacher expands the scope of their independence and receives an objective assessment of their activities: what their students have learned in reality, and not according to his ideas. In this case, the phrases “I told them a hundred times!..” will not save you. The sooner the real fruits of activity are visible, the more time and chances there are to change something.

• 7. The principle of correspondence of the content of the work to a certain external form, i.e. mise-en-scène. Mise-en-scene solution to the educational process. This should be expressed in the free movement of students and teachers in the classroom space, depending on the need for the content of the work. This includes inhabiting the space for its appropriation and feeling comfortable in it. This search for a teacher’s place is different in each specific situation. It is not the case that should serve some external order, but the order should change depending on the needs of the case.
• 8. The principle of problematization. The teacher formulates the task as a kind of contradiction, which leads students to experience a state of intellectual impasse and plunges them into a problematic situation. A problematic situation (problem-task, situation-position) is a contradiction between the range of proposed circumstances and the needs of an individual or group of individuals located within this vicious circle. Therefore, a problematic situation is a psychological model of the conditions for the generation of thinking on the basis of the situational dominant cognitive need. A problem situation characterizes the interaction between a subject and his environment. Interaction of personality and objective contradictory environment. For example, the inability to complete a theoretical or practical task using previously acquired knowledge and skills. This leads to the need to equip yourself with new knowledge. It is necessary to find some unknown that would resolve the contradiction that has arisen. Objectification or objectification of this unknown occurs in the form of a question asked to oneself. This is the initial link of mental activity connecting the object and the subject. In educational activities, such a question is often asked by the teacher and addressed to the student. But it is important that the student himself acquires the ability to generate such questions. In search of an answer to the question of new knowledge, the subject develops or lives the path to the generation of knowledge. In this sense, the problem situation is the primary and one of the central concepts of theater pedagogy and, in particular, the socio-game style of teaching. Problem-based learning is a teacher-organized way of student interaction with the problematically presented content of the subject of study. Knowledge obtained in this way is experienced as a subjective discovery, understanding - as a personal value. This allows you to develop the student’s cognitive motivation and interest in the subject. In teaching, by creating a problem situation, the conditions for research activity and the development of creative thinking are modeled. A means of controlling the thinking process in problem-based learning is problematic issues, which indicate the essence of the educational problem and the area of ​​​​search for unknown knowledge. Problem-based learning is implemented both in the content of the subject of study and in the process of its development. The content is realized by developing a system of problems that reflect the main content of the subject.

The learning process is organized by the condition of an equal dialogue between teacher and student, and students with each other, where they are interested in each other’s judgments, since everyone is interested in resolving the problematic situation in which everyone finds themselves. It is important to collect all the solution options and highlight the fundamentally effective ones. Here, with the help of a system of educational problems caused by problematic situations, subject research activities and norms of social organization of dialogic communication between research participants are modeled, which in fact is the basis of theatrical pedagogy of the rehearsal process and training, which allows the development of students’ thinking abilities and their socialization.

The main means of testing any assumption is experimental verification, confirming the obviousness of the facts. In theater pedagogy, this could be a dramatization or a sketch, a thought experiment or an analogy. Then there is necessarily a discussion process of proof or justification.

Staging refers to the educational and pedagogical process of creating a plan for an acting experiment-sketch and its implementation. This means assembling the range of proposed circumstances of the situation, setting the goals and objectives of its participants and realizing these goals in stage interaction, using certain means available to the characters in the story. Unlike a professional acting sketch, in a general educational situation, what is important is not the acting skill itself, but its methods of appropriating the situation. This is a process of creative imagination and mental justification of the proposed circumstances and an effective experiment-study to test the hypothesis put forward for solving the problem. It can also be a search for a solution through improvisation in the proposed circumstances.

The students, having played out the study-experiment, practically visited the situation under study and tested, using their life-game experience, assumptions and options for behavior and solutions to problems in a similar situation. Moreover, educational and cognitive sketches can be constructed either completely recreating the necessary situation, or similar situations, similar in essence, but different in form, which can be more close and familiar to students. The etude method, as a method for studying a situation or a certain content, involves posing a problem and a task to solve it, creating a list of game conflict rules of behavior (what is possible and what is not), which create a game problem situation. In this case, the main stage is analysis. In the analysis, the given framework of the rules of the game is compared with those that actually existed, i.e. The purity of the experiment is assessed. If the rules are followed, then the results obtained are reliable.

Both student-performers and student-observers, who are initially assigned the role of controllers, participate in the discussion analysis of compliance with the rules. It is this threefold competitive process of interchange of information lived in the study, observed and control that allows students to get into a reflective position, which effectively moves the process of generating new knowledge. It doesn’t matter at all how the student performers played from the point of view of the acting technique of verisimilitude, what is important is what the student observers saw in it. And they are able to see in a simple sketch of their comrades a lot of new ideas and solutions to problems that the performers have no idea about or have not planned. Even before we perceive an object, we are full of meanings about it because we have life experience. These “views from different sides,” let us again remember our favorite parable about the blind men and the elephant, allow the participants in such work to be enriched from each other with new parts of the truth through objective-reflexive relationships, striving for its integrity. Reflection in this case is understood as a mutual reflection of subjects and their activities in at least six positions:

• - the rules of the game themselves, as they are in this material, are control;
• - the performer, how he sees himself and what he has done;
• - the performer and what he performed, as seen by observers;
• - and the same three positions, but from the side of another subject.

This is how a double mirror image of each other’s activities occurs.

Thus, modern theater pedagogy takes a comprehensive approach to training the entire range of children’s sensory abilities; at the same time, competence in creating the mode of interpersonal communication is being developed, the scope of independent creative and mental activity is expanding, which creates comfortable and, importantly, natural conditions for the process of learning and communication. The techniques of theater pedagogy solve not only the special educational problems of theater education, but also allow them to be successfully applied in solving general educational problems.

Watching the children, I always understood that the material is only perceived and remembered by the children when the children and I lived this lesson. I constantly felt like I was missing something. And then one day a book fell into my hands

Theater pedagogy assumes changing the role of the teacher.

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Watching the children, I always understood that the material is only perceived and remembered by the children when the children and I lived this lesson. I constantly felt like I was missing something. And then one day a book fell into my handsV.A. Ilyeva “Technology of theater pedagogy in the formation and implementation of plans school lesson”.

Theater and school lesson! How to combine these two concepts?! “Theater pedagogy provides an example of educating not only an actor, but also a person - a creator in general, it helps to “straighten” a person: to captivate, influence, transform him” - these words from the book stuck with me most of all. And I wanted to try it! But it turned out to be quite difficult.

Theater pedagogy assumes changing the role of the teacher.A child, like an adult, needs a living, feeling, surprised, suffering and rejoicing interlocutor. The child must be interested, otherwise contact with him will never be fully dialogical. Otherwise, the knowledge that the teacher conveys to the child will be uninteresting to the latter, and consequently, the motivation to study will decrease in English.

“The teacher is a mirror, not a poser in front of it. He captures the images with which the child himself is trying to express himself” (P.M. Ershov, A.P. Ershova, V.M. Bukatov “Communication in the lesson, or directing the teacher’s behavior”)

How important it is for a teacher to see in a child not only a being capable of absorbing all the knowledge that is provided to him, but also a personality - thinking, reasoning, arguing, and initiative; a person who has already accumulated considerable emotional and social experience!

Considering the characteristics of children of primary school age, and I work mainly with elementary school children, having experience working with dramatization, I settled on usingseveral techniques of this technology: expressive reading, dramatization, sketch, role-playing game.

Theater pedagogy creates maximum conditions for free emotional contact, relaxedness, mutual trust and a creative atmosphere. This is facilitated by the technology of the game, the main task of which is to understand life, to be able to solve life issues with the help of the game. L.S. Vygotsky calls play the zone of proximal development of a person (Vygotsky L.S. “Development of Higher Mental Functions” M. 1960). One of the types of play in theater pedagogy is etude.

Mastery of this element of technology, the technique of contact interaction, allows you to build a director's action in a school lesson. Contents, purposes of sketches in pedagogical practice teacher differs from the content, purpose of sketches in acting profession only because everything happens in the circumstances of a school lesson. TO components sketches include – target sketch, what result the teacher wants to achieve from the students. Event - what should happen in the minds and hearts of students in the process of living the situation proposed by the teacher. Action - what actions the teacher takes to achieve the goal.Improvisational well-being – inclusion of new and random circumstances.

There are several types of studies: a single study for emotional memories, for physical well-being; single or paired sketch of an action with imaginary objects; group studies with various methodological goals; a study on mastering methods of verbal influence. The use of pedagogical etudes in a teacher’s work trains not only the ability to grasp the internal conflict of a particular pedagogical situation, but also his ability to organize the directing action of a lesson, direct students towards the desired tempo rhythm, and find expressive points in the events of the lesson and its ending.

One examplegroup sketch is a dramatization. Exercises like “read by role, dramatize a story (text, story, fairy tale)” occupy a strong place in the arsenal methodological techniques used in a foreign language lesson. That is why my students and I began to learn about theatrical art from this reception. To make the performance more spectacular and memorable, I use masks, hats with inscriptions, pictures, drawings, and dolls in my lessons. Our dramatization always begins with transformation into the hero the child will play. For this I use various games ( single studies).

For example, “Magic mirror” B There is a large mirror in the classroom, the child closes his eyes, the teacher turns into a sorceress and says the words “Tickary - pickary - bickary - dum”, while putting a mask on the child. The child opens his eyes, looks in the mirror and says, imitating with the movements and voice of the animal he has turned into, who he has become, using previously learned vocabulary: “I am a snake.”

“Magic bag” The child takes out of the magic bag, without looking into it, a mask or cap, or a toy and plays the role of the character whose mask he took out.

Before you start dramatizing in class,vocabulary from the dialogue is practiced using various exercises:

– Imagine that it is raining outside (while I turn on a film with the sounds of rain). The rain washed away the words from the poster. Let's restore the text of the poster.

– I put on the Dunno mask and say “I am Neznayka today.” Help me create expressions for our dramatization.

– Or I say “I am a silly chicken” and put on a chicken mask, please help me make up a story from different sentences.

Then we read the compiled story by role and dramatize it. I try to make sure that the successful child and the less successful child work together. From time to time, I find it advisable to give more challenging roles to students who occupy the position of followers in life, so that they feel self-confident and realize their importance in the group.

For third grade students who can already read, I usereception “ expressive reading” (single sketch).But this reading is also unusual! I invite my children to read this or that text, a poem from the perspective of, for example, a giant or a midget, Pinocchio or Malvina, or any other fairy-tale hero. Before this, we worked on vocabulary on the topics “Appearance” and “Character Traits”. We described these heroes and talked about them.

Sometimes I invite the children to spend a physical education minute on behalf of someone else. It turns out great!

Role-playing game - This is another technique of theatrical pedagogy (pair or group sketches). Role-playing is a speech, gaming and educational activity at the same time. She has great learning potential.

Role play has educational value. Children, albeit in a rudimentary form, are introduced to theater technology. To organize the game we have to take care of the props. The transformation itself helps to expand the psychological range and understanding of other people.

Role-playing can be regarded as the most accurate model of communication, since it interweaves the verbal and non-verbal behavior of partners.

Role-playing play helps expand the associative base when mastering language material, since the learning situation is built according to the type theater plays, which involves a description of the situation, the nature of the characters and the relationships between them

Role-playing has great motivational potential.

It helps expand the scope of communication. This involves preliminary assimilation of language material in training exercises and the development of appropriate skills that will allow students to focus on the content side of the utterance. I approach the distribution of roles very responsibly. We have to take into account the interests, temperament, relationships between students in the group, and the individual characteristics of each student. In my practice, I use a number of exercises to prepare a role-playing game.

“Warming up” exercisespantomimic character

– imagine that you are making your way through the jungle;
– show the class how you try to eat a lemon;
– show the class what animal you would like to have at home;
– show the class how you feel when you discover that you forgot your textbook at home and so on.

Next I complicate the situationand I ask the guys to “turn” into the animal that they showed and talk about it or talk about what they have in their briefcase, except for a forgotten textbook, talk about what they like to eat for breakfast, lunch and dinner.

After the stories, I ask the guys to ask questions to the “actor”. I have signal cards for this. For second grade students, these are cards with the words “Can”, “have”, “do”. For third grade students – “who”, “what”, “where”.

After the “warm-up” exercises, I move on to problematic situations, in which students are asked to solve a particular problem. For example, your friend invited you to visit, and you have other friends visiting. You don't want to offend your friend. For children less successful in the subject, I offer support cards with previously learned vocabulary on the topic.

On initial stage In teaching English, I use controlled role-playing, which can be dialogue-based or text-based. Students are introduced to and practice basic dialogue. Then we work through the norms of speech etiquette and necessary vocabulary. After this, I invite the children to compose their own version of the dialogue, based on what they read.

Text-based role-playing is more challenging work. For example, after reading the text about the Rabbit and completing the tasks for it suggested by the authors of the textbook “ Enjoy English 1”, I ask one of the students to play the role of the Rabbit, and the other students to interview him. Moreover, “reporters” can ask questions not only those to which there are answers in the text, but also any others. The student playing the role of the character can show his imagination when answering questions.

I have been doing role-playing as a “reporter” almost from the first lessons. As soon as we have learned to ask about someone's name, where someone is from, and how old someone is, the “reporter” becomes popular game my students.

In high school, free role-playing is more popular than controlled play. When conducting it, the students themselves choose the vocabulary they will use and how the action will develop. The teacher gives the topic of the game. The class is divided into 2 groups, which themselves create different situations and distribute roles.

While studying the topic “Sports”, I invite students to organize a press conference with famous athletes on the topic “Professional sports are harmful to health.” For 10 minutes, two groups work on the proposed situation, discuss it, and distribute roles. Then the game itself begins, the action of which is improvised.

When studying the topic “Animals,” I conduct a role-playing game on the topic “Exotic animals in the family: pros and cons.” I offer the following roles: an ambitious businessman, neighbors of this businessman, veterinarian, animal rights activist, journalist. Children can suggest other roles during the discussion and preparation process. If necessary, I prepare support cards in advance.

I would like to emphasize once again that the use of role-playing games in the classroom helps to maintain interest in the English language at all stages of learning, helps create a favorable psychological climate, increases the efficiency of the educational process, and students master skills speech activity as a means of communication.

Lessons - performancesis a combination of several techniques of theater pedagogy in one lesson. (Annex 1)

Lesson - the performance must have a complete directorial action, have a chain of events, from the initial to the main one, its action must develop improvisedly. Such lessons are very successful as generalization lessons on a covered topic. In the second grade (textbook “Enjoy English 1” by M.Z. Bibolntova and others), I conduct lessons and performances on the topics: “My beloved fairy tale hero”, “Alphabet Celebration”, “Journeys with Mary Poppins”.

In the third grade (textbook “Enjoy English 2” by M.Z. Bibolntova and others), such lessons are taught on the topics: “Visiting Winnie the Pooh”, “Who lives in fairy tales?”

To begin with, I would like to say a few words about how the lesson is structured (what is the direction of the lesson), from the point of view of theater pedagogy.

– The primary goal of the lesson (for what? that is, for what purpose is the performance being staged today)
– Facts: initial event (material studied), main event, central event (climax event), main event (last event, after which nothing happens)

Facts and events are the stages of development of the end-to-end directorial action of the lesson.

Cross-cutting action is a real, concrete struggle taking place before the eyes of the audience.

When conducting a lesson using elements of theater pedagogy, I adhere to certain methodological principles, such as:

1. The teacher actively influences the attention, imagination and thought of students.
2. The class will take part in the lesson-play if the teacher organically influences the thoughts and feelings of students with the help of truth and faith in the proposed circumstances.
3. Contrast in the selection and execution of exercises. The principle of contrast develops emotionality and the ability to quickly change the pace of behavior.
4. Complexity of tasks in the lesson and in each exercise. Complex exercises always actively train hearing, memory, imagination and thinking, and teach the ability to perform actions of varying content in limited periods of time.
5. Authenticity and continuity of pedagogical actions. It is very important that the teacher himself lives authentically: he looks and sees; listened and heard; focused attention; set tasks in an engaging and concise manner; responded in a timely manner to the correct and productive actions of his students; emotionally infected his students.

So, I would like to emphasize once again that the use of elements of theater pedagogy allows for the holistic development of the individual with the simultaneous inclusion of intellect, feelings and actions, helps to make the learning process attractive and joyful. In addition, the use of various techniques of this technology in learning English contributes to the development of communicative culture: in addition to linguistic forms, children learn to comprehend the external and internal content of an image, develop the ability for mutual understanding and respect, acquire social competence, and enrich their vocabulary.

Bibliography:

1. Gerbach E.M. Theater project in teaching a foreign language at the initial stage. / Foreign languages ​​at school, 2006 No. 4.
2. Gippius S.V. Gymnastics of feelings./ M., 1967.
3. Ershov P.M., Ershova A.P., Bukatov V.M. Communication in the classroom, or directing teacher behavior. / M., 1998.
4. Ilyev V.A. Technology of theater pedagogy in the formation and implementation of the school lesson plan. / M., 1993.
5. Kann – Kalik V.A. To the teacher about pedagogical communication./M., 1987.
6. Komensky Ya.A. The open door of languages./ M., 1975.
7. Polyakova T.N. Theater in study German language. / St. Petersburg, 2007.
8. Knebel M.O. Poetry of pedagogy. /M., 1984.

School theater pedagogy is an interdisciplinary direction, the emergence of which is due to a number of sociocultural and educational factors.

The dynamics of socio-economic changes, the development of processes of democratization of public consciousness and practice give rise to the need for an individual capable of adequate cultural self-identification, To free choice own position, to active self-realization and culture-creative activity. It is at school that the formation of personal self-awareness occurs, a culture of feelings is formed, the ability to communicate, mastery of one’s own body, voice, plastic expressiveness of movements, a sense of proportion and taste is cultivated, necessary for a person for success in any field of activity. Theatrical and aesthetic activity, organically included in the educational process, is a universal means of developing a person’s personal abilities.

The processes of modernization of the domestic education system take into account the relevance of the transition from the extensive method of simply increasing the amount of information included in educational programs to the search for intensive approaches to its organization.

Apparently, we are talking about the formation of a new pedagogical paradigm, new thinking and creativity in the educational sphere. A “culture-creative” type school is born, building a unified and holistic educational process as a child’s path to culture.

The basic principles of cultural pedagogy coincide with the principles of theatrical pedagogy, as one of the most creative in nature. After all, the goal of theater pedagogy is to liberate the psychophysical apparatus of the student-actor. Theater teachers build a system of relationships in such a way as to organize maximum conditions for creating extremely free emotional contact, relaxedness, mutual trust and a creative atmosphere.

In theater pedagogy, there are general patterns of the process of teaching a creative personality, which can be purposefully and productively used for the purpose of nurturing the creative personality of both students and future school teachers.

What does the term “school theater pedagogy” include? Being part of theatrical pedagogy and existing according to its laws, it pursues other goals. If the goal of theater pedagogy is the professional training of actors and directors, then school theater pedagogy speaks of nurturing the personality of the pupil and student through the means of theatrical art.

We propose to denote by the term “school theater pedagogy” those phenomena in the educational process of schools and universities that are in one way or another connected with theatrical art; develop imagination and imaginative thinking, but not pre-professional training of actors and directors.

School theater pedagogy involves:

• inclusion of theater lessons in the school educational process;
• training specialists to conduct theater lessons at school;
• acting and directing training for students of pedagogical universities;
• training existing school teachers in the basics of directing.

Each of these blocks, in our opinion, represents extremely fertile ground for researchers, theorists and practitioners: teachers, psychologists, directors, theater experts, etc. School theater pedagogy today is the subject of close interest, while pedagogical search is carried out in various directions and with different measures of success.

In this sense, of particular interest is the model of a cultural school developed at the Department of Aesthetics and Ethics of the Russian State Pedagogical University named after. A.I. Herzen. Here we propose a concept focused on the formation of a child’s personality in accordance with the idea of ​​​​the correlation between onto- and phylogenesis. And then the school theater unfolds as a method of introducing the child into world culture, which occurs according to age stages and involves the problem-thematic and targeted integration of the disciplines of the natural sciences, socio-humanities and artistic-aesthetic cycles. The work of the school theater here can be considered as a universal way of integration.

School theater appears as a form of artistic and aesthetic activity that recreates life world, settled by a child. And if in a role-playing game, whose name is theater, the goal and result is an artistic image, then the goal of a school theater is significantly different. It consists in modeling the educational space to be mastered. Based on the idea of ​​differences in the educational world at the age stages of personality development, it is important to determine the specifics of school theater at these levels, accordingly building the methodology of theatrical and pedagogical work.

When starting this work, the school staff should clearly understand the possibilities and place of the school theater in a particular school, with its own traditions and ways of organizing the educational process. Then you have to choose and build existing and possible forms: lesson, studio, elective. It seems to us that a combination of these three forms is necessary.

The inclusion of the art of theater in the educational process of school is not only a good desire of enthusiasts, but a real need for the development of a modern education system, which moves from the episodic presence of theater in school to systematic modeling of its educational function.

However, it must be taken into account that we do not propose to “saturate” the system of theater education in school with all possible forms and methods, but to give the school a choice depending on the experience and passion of the teacher and students. In order for a teacher to make this choice, he needs to see a perspective in theatrical work.

Problems of professional and methodological training of school theater teachers-directors. Modern reform processes in education, the obvious tendency of Russian schools towards independent pedagogical creativity and, in connection with this, the actualization of the problems of school theater give rise to the need for professional training of a teacher-director. Such personnel, however, were not trained anywhere until recently.

There is interesting foreign experience in this area. For example, in Hungary, children's theater groups are usually organized on the basis of a school and have a professional leader (every third group) or a teacher trained in special theater courses.

Theater specialization for persons from 17 to 68 years of age who want to work with children is offered at a number of community colleges in the United States. Similar initiatives are taking place in Lithuania and Estonia.

The urgent need to put theatrical work with children on a serious professional basis does not question the priority of pedagogical goals. And it is even more important to preserve that valuable thing that noble non-professional enthusiasts and subject teachers look for and find in children’s theatrical creativity.

The teacher-director is a special problem of the modern school. Theater turned out to be the only art form in the school that lacked professional leadership. With the advent of theater classes, electives, and the introduction of theater pedagogy into general educational processes, it became obvious that the school could not do without a professional who knew how to work with children, as has long been realized in relation to other types of art.

The activity of a teacher-director is determined by his position, which develops from the position of a teacher-organizer at the beginning and to a colleague-consultant at the end. high level development of the team, presenting at each moment a certain synthesis of different positions. In the constantly ongoing debate about who he should be, a teacher or a director, in my opinion, there is no antithesis. Any one-sidedness, be it an excessive passion for staged discoveries to the detriment of conducting normal educational work, or, conversely, ignoring the actual creative tasks of the team, when the spark of creativity goes out in general conversations and similar rehearsals, will inevitably lead to aesthetic and moral contradictions.

A teacher-director is a person capable of active self-correction: in the process of co-creation with children, he not only hears, understands, accepts the child’s ideas, but actually changes, grows morally, intellectually, creatively together with the team.

Based on the Department of Aesthetics and Ethics of the Russian State Pedagogical University named after. Herzen has developed a new professional and educational profile “School Theater Pedagogy”, which will train a teacher capable of organizing educational theater and play performances in school and optimizing the development of the values ​​of domestic and world culture.

Actor and philosopher: what do they have in common? (answers from 4th year students of the Faculty of Human Philosophy of the Herzen State Pedagogical University)

• "Sense of the situation." Hence calmness, because living the situation and, at the same time, rising above it, equanimity comes to the individual who has succeeded in this. In other words, there is a knowledge of proportion here.
• Tact, restraint, confidence, which should not be confused with self-confidence, where subjectivity overshadows reason, giving rise to egoism.
• Communication skills, ability to control emotions, ability to fully express thoughts using emotional means. Body control. Equilibrium. The ability to feel another personality and always maintain your own.
• An actor, I heard, should not allow his experiences to “stick together” too much with what he is doing on stage - otherwise you can get lost and look pitiful, despite all the inner heat and power. In this regard, I would like to learn to pour myself into the most adequate form, so that I can not only speak, but also see myself, my movements, posture, gestures through the eyes of students.
• For me, joy, that is, Truth, is associated with organic unity with the surrounding reality, with my physical body, with creative expression universal content in my individual form.

“The theater is a gentle monster that takes its man if he is called, rudely throws him out if he is not called” (A. Blok). Why does the school need the “gentle monster” that it conceals within itself? What is it attractive force? Why does his magic affect us so much? The theater is forever young and kind, mysterious and unique.

Theater is able to identify and emphasize the individuality, originality, uniqueness of the human personality, regardless of where this personality is located - on the stage or in the hall. To comprehend the world, linking the past, present and future into the holistic experience of humanity and every person, to establish the laws of existence and to foresee the future, to answer eternal questions: “Who are we?”, “Why and for what purpose do we live on Earth?” - the theater always tried. The playwright, director, and actor tell the viewer from the stage: “This is how we perceive it, how we feel, how we think. Unite with us, perceive, think, empathize - and you will understand what the life that surrounds you really is, what you really are and what you can and should become.”

IN modern pedagogy The possibilities of school theater can hardly be overestimated. This type of educational activity was widely and fruitfully used in school practice of past eras, known as a genre from the Middle Ages to the Modern Age. The school theater contributed to the solution of a number of educational tasks: teaching live conversational speech; acquisition of a certain freedom of circulation; “learning to speak before society as speakers or preachers.” “The school theater was a theater of usefulness and business, and only incidentally with this - a theater of pleasure and entertainment.”

In the 20s of the 18th century, a school theater arose in St. Petersburg, at the school of Feofan Prokopovich, who writes about the importance of theater in school with its strict rules of behavior and the harsh regime of the boarding school: “Comedies delight young people with a life of oppression and similar to captive imprisonment.”

Thus, school theater as a special problem has its own history in domestic and foreign pedagogical thought and practice.

Theater can be both a lesson and exciting game, a means of immersion in another era and the discovery of unknown facets of modernity. It helps to assimilate moral and scientific truths through the practice of dialogue, teaches one to be oneself and the “other,” to transform into a hero and live many lives, spiritual collisions, and dramatic tests of character. In other words, theatrical activity is a child’s path to universal human culture, to moral values of his people.

How to get into this magical land called Theater? How to connect theater systems and Childhood with each other? What should theater classes be for their young participants - the beginning of a career, a journey through various artistic eras, broadening their horizons, or maybe just a reasonable and exciting vacation?

A creative group, including university teachers (Russian State Pedagogical University named after Herzen, Faculty of Human Philosophy; St. Petersburg State Academy of Theater Arts; Russian Institute of Art History), heads of school theaters, professional actors and directors, developed the project of the St. Petersburg Center “Theater and School” ", the purpose of which is:

• interaction between theater and school, realized through the organic inclusion of theatrical activities in the educational process of city schools;
• inclusion in creative process children and teachers, the formation of school theater groups and their repertoire, taking into account the age characteristics of the participants, as well as the content of the educational process;
• interaction between professional theaters and schools, development of theater subscriptions focused on the educational process.

The uniqueness of our project lies in the fact that for the first time an attempt is being made to unite the efforts of all creative organizations and individuals involved in school theater work.

The activities of our Center are developing in several directions:

School theater creativity. The methodology of school theater today is the subject of close interest, while pedagogical searches in St. Petersburg schools are carried out with varying degrees of success and in different directions:

Schools with theater classes. Theater lessons are included in the schedule of individual classes, because in every school there is always a class that seems to be predisposed to theatrical activities. It is these classes that are often the basis of the school theater group. Usually this work is carried out by humanities teachers.

Schools with theatrical atmosphere , where the theater is a subject of general interest. This includes an interest in the history and modernity of the theater, and a passion for amateur amateur theater, where many schoolchildren take part.

The most common form of theater in a modern school is a drama club, which models theater as an independent artistic organism: selected, talented children who are interested in theater participate in it. His repertoire is arbitrary and dictated by the taste of the leader. Being an interesting and useful form of extracurricular work, the drama club is limited in its capabilities and does not have a significant impact on the organization of educational work as a whole.

Children's theaters outside of school represent independent problem however, their methodological findings can be successfully used in the school process.

Some schools managed to attract a large group of professionals and the Theater lesson is included in the curriculum of all classes. These are leaders who combine directorial talent, love for children and organizational talent. It was they who came up with the idea - to give theater to every child, including a theater lesson as a discipline in the educational process of the school.

Along with studying the experience of existing school theaters, new original theater lesson programs are being developed for grades 1 to 11. One of them is the experimental program “Theater Pedagogy at School”, the author of which is a professional director, director theater class School No. 485 of the Moskovsky district of St. Petersburg, Evgeniy Georgievich Serdakov.

Interaction with professional theaters. Our Center held the “Actors’ Campaign” campaign, theater subscriptions, musical and art programs which are directly related to the content of the educational process. For example, the literary subscription “Petersburg Stanzas”, one-man performances based on the works of A.S. Pushkina, N.V. Gogol, F.M. Dostoevsky, L.N. Tolstoy, A.P. Chekhova, V.V. Nabokov; musical and poetry programs dedicated to the work of poets Silver Age, the series “Literary Roads of Old Europe” for high school students studying a course in world artistic culture.

International projects. In 1999, our Center became a full member of Unitart - Art and Children - a network of European institutions working for and with children, its main office is located in Amsterdam (Netherlands).

Our Center has developed an educational and educational long-term project “European School Theater Creativity”, the main ideas of which are:

• interaction of European cultures on the verge of the millennium through school theater creativity;
• studying the language, literature, and culture of other peoples through theater as part of the school curriculum.

The project was supported by the Unitart General Assembly in Amsterdam (October 27-31, 1999).

We have received partnership offers from colleagues from Belgium, France, Italy, Finland, Spain and England. European colleagues were especially interested in educational programs and performances of school theaters in our city in English, German, French, and Spanish.

Childhood and youth need not only and not so much a theater model, but a model of the world and life. It is within the “parameters” of such a model that a young person is able to most fully realize and test himself as an individual. When connecting such subtle and complex phenomena as theater and childhood, it is necessary to strive for their harmony. This can be done by building with children not a “theater” or a “team”, but a way of life, a model of the world. In this sense, the task of the school theater coincides with the idea of ​​organizing a holistic educational space of the school as cultural world, in which he, the school theater, becoming an artistic and aesthetic educational performance, shows its uniqueness and depth, beauty and paradox.

Pedagogy is also becoming “theatrical”: its techniques gravitate towards play, fantasy, romanticization and poeticization - everything that is characteristic of theater on the one hand, and childhood on the other. In this context theater work With children he solves his own pedagogical problems, including both the student and the teacher in the process of mastering the model of the world that the school is building.

School theater is developed as a method of introducing a child to world culture, which occurs according to age stages and involves problem-thematic and targeted integration of the disciplines of the natural sciences, socio-humanities and artistic-aesthetic cycles.

Ticket number 11. The concept of “Theater pedagogy”.

Theater pedagogy is the involvement of children in active verbal communication, it is a diverse range of emotional experiences, it is a whole world where the child’s intellect is liberated.

Staging performances is not only a game and entertainment, it is one of the main methods of stimulating the creative activity of children and increasing the motivation of verbal communication. Children learn that actors in their work use the tools that nature has given them: body, movement, speech, gesture, facial expressions... Children try very hard to play a trusted role as believably as possible, and this is another incentive for the development of speech.

The introduction of theatrical activity into the educational process involves its use not as a means of entertainment, but as a method of stimulating the creative activity of children, where the teacher is focused on the child’s personality as a whole, and not just on his functions as a student.

theatrical activity allows you to develop the experience of moral behavior and the ability to act in accordance with moral standards. Theatrical activities eliminate painful experiences associated with speech defects, strengthen mental health, and help improve social adaptation.

Theater pedagogy puts emphasis on the process of training actors in the theater troupe, as well as on expanding the creative range of actors, both middle and older generations. In practice, the educational work of theater teachers is aimed at developing two important qualities in students: artistry and aestheticism. At the same time, it is believed that it is impossible to exclude any of the above qualities, giving priority to another, because, in the end, this will lead to the collapse of Tatra art. For children under 12 years of age, it will be useful to participate in puppet theater plays, which will allow the child to be not only an actor, but also a stage director. The teacher will be able to consider the inherent creative talents. After participating in a puppet theater, children may well be interested in dramatic theater.

Theater pedagogy as a universal means of human education.

Theater pedagogy has been used in educational activities since Antiquity. School and theater are very similar. Both the theater and the school create models of the world, these are small planets where people (you and I) and our children-students live - we communicate, interact, work, quarrel, and achieve certain results.

Children have no life experience, their social circle is mainly their peers with similar life experience, and our goal, the goal of the school, is to produce a socially adapted personality, comprehensively developed and harmonious. And I, as a teacher of Russian language and literature, an organizer of extracurricular activities, through trial and error, found the optimal way for the social adaptation of children - modeling life situations in which a graduate may find himself after leaving school, in class and extracurricular activities, using methods and techniques theater pedagogy.
Soviet teachers - Makarenko, Lunacharsky, Vygotsky - also spoke about the effectiveness of its use in educational activities. There is enormous interest in this pedagogy today. Example - annual municipal, regional, international School Theater Festivals, successful participants which we are. And this is a strong motivation for students.
Advantages: owning a live colloquial speech, body and facial expressions, development of emotionality, feelings, empathy, the ability to feel a situation and get out of it, education of taste and sense of proportion, publicity, the ability to control an audience, interaction with others, while maintaining individuality, immersion in another era and the proposed circumstances, success here and now it is a universal means for educating Man.

The specificity of theatrical art is such that from the first minute of communication to the final one (release of the performance), the teacher has a direct influence on the development, education and formation of the student’s personality. The choice of exercises, tasks, topics for sketches, conversations, and other forms and methods of teaching are aimed at developing the personality as a whole. A pianist has a piano, a violinist has a violin, and an actor has an “instrument” himself. How this “tool” will be “configured” depends on the personality of the teacher himself. The student may “sound up”, or may remain “closed” to the teacher for a long time. Of great importance are the teacher’s interest and love for children, his passion for pedagogical work, psychological and pedagogical vigilance and observation, pedagogical tact, pedagogical imagination, organizational skills, fairness, sociability, exactingness, endurance, and professional performance. In order to master the qualities listed above, it is necessary to study and master the patterns and mechanisms of the pedagogical process in theatrical activities. This will allow each topic or section to be divided into its component elements, to comprehend each part in connection with the whole, to find the main pedagogical problem and ways to optimally solve it. It is necessary to rely in your activities on scientific theory. By theater arts There are not so many of them, unlike pedagogy. But you need to keep in mind that any scientific theory is a set of laws and rules, and practice is always specific and momentary. In addition, the application of theory in practice requires some theoretical thinking skills, which the teacher does not always have. Pedagogical activity is a holistic process based on personal acting and life experience, pedagogical methods, psychology, philosophy, etc., while the teacher’s knowledge is most often sorted “on shelves”, i.e. have not been brought to the level of generalized knowledge necessary to manage the pedagogical process. This leads to the fact that a teacher engaged in theatrical activities is not under the influence of theory, but on the basis of superficial ideas about pedagogical activity in the theater he turns out to be helpless in a professional sense. Entertainment becomes the main thing, while the first place should be the formation of moral and value orientations, awareness of public duty and civic responsibility.

Theatrical activity is a collective activity. Without a mutually understanding teaching staff, there will be no good result. It is theatrical activity that forces you to work only with like-minded people. A teacher-choreographer, a teacher - in stage speech, in stage movement, in vocals - are united in the educational process and when working on the stage embodiment of dramatic material, they are obliged to work according to the same rules, to be like-minded people.