Theater teacher. The history of the development of theater pedagogy in Russia in the works of the Institute of Art Education

Our article today will be from the category “What interesting things can you do?” So today we present to your attention Amiens, the capital of Picardy. A city of art and history, Amiens is located 145 km from Paris and is famous for its magnificent Gothic cathedral, which is listed world heritage UNESCO. However, Amiens has other attractions: a watchtower, museums, bridges, the medieval Saint-Leu quarter, floating gardens, antique and craft shops where you can stroll.

Cultural discoveries in Picardy will continue in the Jules Verne House Museum, and beyond its walls: see Samara, a machine for immersion in the heart of prehistory, then Rambours for immersion in the Middle Ages and at the end San Ricca, to witness the rebirth abbeys

Amiens Cathedral - the capital of Picardy

This is a magnificent 13th-century building, the work of the great builders of the Middle Ages. The cathedral was built in record time short time. In fact, the texture work lasted 68 years, which is very short for that time! Its small details create an amazing harmony: gargoyles, angels, colorful roses... You will plunge headlong into the Middle Ages!

When a person enters the cathedral, he is immediately overwhelmed by a wave of impressions! The octagonal nave is an invitation to the opening of the cathedral itself. This smell, this silence, this light, takes us to a fairy tale of time travel.

Note to tourists: From June to September and in December, the façade of the cathedral is illuminated with lamps! Discover this free extravaganza!

This jewel of the classic Gothic of Amiens unites all the innovations of that era: the supporting beams, the ribbed vault, thanks to which the cathedral is bathed in light. Many stained glass windows play important role in the atmosphere that reigns in the building.

The stepped corridor, 234 m long, is unique in its shape with its central stone, which was laid by the bishop, founder Evrard de Foulois and his three assistants. You will have the opportunity to climb 307 steps that separate you from the north tower! If you make this effort, you will definitely never regret it!

WHEN AND HOW TO VISIT THE CATHEDRAL?

The cathedral is open all year round from Tuesday to Sunday.

Interesting! IN cathedral Amiens, the capital of Picardy, is home to the skull of St. John the Baptist, which was stolen from Constantinople during the Crusade in 1204.

300 hectares of gardens are located in the heart of the city of Amiens. They are interspersed with small channels. These are former swamps, originally consisting of the Summa branch and its canals. The Romans gave them the name "Hortus" (gardens). They were the first to grow vegetables here to feed their soldiers. Then everything moved to other Sums. The gardens reached their full flowering in the 19th century. Peasants also used “gardens” to extract peat, which, after drying, served as fuel.

At the beginning of the 20th century, farmers who lived in the gardens sold their products at the famous market in Les Halles. Their product was very popular, because everything came from the “water market”, which means it was of very high quality. In Amiens, there is still a market. These days, on Saturday mornings, you can walk along it and see how several families still live there. Today it is an oasis of peace and quiet, not in the city center, but everything is nearby. The lands are mainly used for ornamental gardens. Here the light and nature are beautiful, you can admire rare plants. A walk through the floating gardens is the story of the legends that inhabit the former swamps!

With Paris-Tourist you can go on excursions around France with Russian-speaking guides or accompanying drivers in mini-groups of up to 8 people. at the best prices in Paris in comfortable minivans. Our most popular excursions are

Synthetic character theatrical arts is effective and unique means artistic and aesthetic education of students, thanks to which children's theater occupies a significant place in common system 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 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 moral, artistic and aesthetic education. 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 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 in 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 Petrushka, shadow theater, 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 the free time of a child up to the age of 12. In this game you can prove yourself at the same time as the author of a play, dramatizing your favorite fairy tales, stories and plots, and as a director and actor, playing for everyone characters of his play and a master needleworker.

From puppet theater children can gradually develop 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.

Introduction to pedagogical publications late XIX- the beginning of the 20th century, statements by teachers and activists children's theater 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 on this issue were heard. The resolution of the congress noted that “the educational influence of children’s theater is felt in full force only with its deliberate, purposeful production, adapted to child development, worldview and the 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 Figures, held in 1916. folk theater. 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 a 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 leading teacher S.T. Shatsky. The teacher considered children's theatrical performances as an important means of uniting the children's team, moral re-education of “street children”, and introducing them to 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 criminalization youth environment 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 of additional education. School theater directors create original programs and set service goals young viewer. 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 free play nature 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 of ancient Hellas owes much to the ritual of the city residents living together and the great drama 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 - essential tool education.

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 gaming nature, is the most powerful means education precisely through living the spiritual cultural patterns 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, each historical time presupposes its own level of democracy, the process of harmony between people and a new understanding of the role of a leader and, in particular, a 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.

The teacher-organizer, the instigator of gaming didactic activities, acts in this case as the director of creating a situation of friendly communication through control over his 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. Any positional conflicts arising in educational work, strive to neutralize with your business 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 needed are businesslike, the most urgent, giving the initial setting for joint activities and children's communication 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 the “wrong” execution of a task opens up new possibilities for its application, new modification, which 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 the teacher experiences acute negative emotions when faced with children’s refusal to complete the 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 conflicting ambitions in teamwork and to 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 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 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 Often this question is 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 about 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 are problematic questions that 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. Theater pedagogy techniques solve not only special educational problems theater education, but also allow them to be successfully used in solving general educational problems.

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 of one’s own position, to active self-realization and culture-creating activity. It is at school that the formation of personal self-awareness occurs, a culture of feelings, the ability to communicate, and mastery of 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 search for intensive approaches to its organization.

Apparently we're talking about about the formation of a new pedagogical paradigm, new thinking and creativity in the educational field. 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 of existing school teachers 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 takes place according to age stages and involves 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 role-playing game, whose name is theater, the goal and result is an artistic image, then the goal of the 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 a methodology for 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, we must take into account that we propose not to “saturate” the system theater education at school in all possible forms and methods, and to provide the school with 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 stage 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 a high level of development of the team, representing 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 its attractive power? 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 foresee the future, to answer the 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 colloquial 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 an 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 with each other theater systems and Childhood? What should they be? theater classes for their young participants - the beginning of the path to a profession, a journey through various artistic eras, broadening their horizons, or maybe just a reasonable and exciting vacation?

A creative group that includes 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), directors 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 age characteristics 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 often form the basis of a school theater group. Usually this work is carried out by humanities teachers.

Schools with a 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, head of the theater class at school No. 485 in the Moskovsky district of St. Petersburg, Evgeniy Georgievich Serdakov.

Interaction with professional theaters. Our Center held the “Actors' Campaign” campaign, theater subscriptions, music and art programs of 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, cycle " Literary roads 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 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 an integral educational space of the school as a cultural world in which it, the school theater, becoming an artistic and aesthetic educational action, manifests 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, theatrical work with children decides its own pedagogical tasks, 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.

On this page you will learn about the most famous acting teachers and great theater figures who created leading acting schools. Among them we can highlight such representatives of the performing arts as Stanislavsky, Meyerhold, Chekhov, Nemirovich-Danchenko and Berhold Brecht. All these people made significant contributions to theatrical art. And therefore, if you see yourself as an aspiring actor, this article will be useful to you.

(1863 - 1938), famous Russian actor and a director who is the founder of the most famous actor training system. Stanislavsky was born in Moscow, in a large family of a famous industrialist, related to Mamontov and the Tretyakov brothers. He began his stage activities in 1877 in the Alekseevsky circle. The aspiring actor Stanislavsky preferred characters with a bright character that gave the opportunity for transformation: among his favorite roles he named the student Megrio from the vaudeville “The Secret of a Woman” and the barber Laverger from “Love Potion”. Treating his passion for the stage with his usual thoroughness, Stanislavsky diligently studied gymnastics, as well as singing with the best teachers in Russia. In 1888, he became one of the founders of the Moscow Society of Art and Literature, and in 1898, together with Nemirovich-Danchenko, he founded the Moscow Art Theater, which still exists today.

Stanislavsky School: “Psychotechnics”. The system named after him is used all over the world. The Stanislavsky school is a psychotechnics that allows the actor to work both on his own qualities and on the role.

Firstly, an actor must work on himself through daily training. After all, the work of an actor on stage is a psychophysical process in which external and internal artistic data are involved: imagination, attention, ability to communicate, sense of truth, emotional memory, sense of rhythm, speech technique, plasticity, etc. All these qualities need to be developed. Secondly, Stanislavsky paid great attention to the actor’s work on the role, which culminates in the organic fusion of the actor with the role, transformation into the image.

The Stanislavsky system formed the basis of the training on our website, and you can read more about it in the first lesson.

(1874-1940) - Russian and Soviet theater director, actor and teacher. He was the son of the owner of a vodka factory, a native of Germany, a Lutheran, and at the age of 21 he converted to Orthodoxy, changing his name Karl-Kazimir-Theodor Meyerhold to Vsevolod Meyerhold. Passionately interested in theater in his youth, Vsevolod Meyerhold successfully passed the exams in 1896 and was immediately admitted to the 2nd year at the Music and Drama School of the Moscow Philharmonic Society in the class of Vladimir Ivanovich Nemirovich-Danchenko. In 1898-1902, Vsevolod Meyerhold worked at the Moscow Art Theater (MAT). In 1906-1907 he was the chief director of the Komissarzhevskaya Theater on Ofitserskaya, and in 1908-1917 - at the St. Petersburg Imperial Theaters. After 1917, he led the “Theatrical October” movement, putting forward a program for a complete revaluation of aesthetic values ​​and the political activation of the theater.

Meyerhold system: “Biomechanics”. Vsevolod Meyerhold developed the symbolic concept of “conventional theater”. He affirmed the principles of “theatrical traditionalism” and sought to return brightness and festivity to the theater as opposed to the realism of Stanislavsky. The biomechanics he developed is a system of acting training that allows you to move from external to internal transformation. The extent to which the actor will be perceived by the audience depends on the accurately found movement and correct intonation. Often this system is contrasted with the views of Stanislavsky.

Meyerhold conducted research in the field of Italian folk theater, where expressive body movements, postures and gestures play an important role in creating a performance. These studies convinced him that the intuitive approach to a role should be preceded by its preliminary coverage, consisting of three stages (this is called the “game link”):

1. Intention.
2. Implementation.
3. Reaction.

In modern theater, biomechanics is one of the integral elements of actor training. In our lessons, biomechanics is considered as an addition to Stanislavsky’s system, and is aimed at developing the ability to reproduce the necessary emotions “here and now.”

(1891-1955) - Russian and American actor, theater teacher, director. Mikhail Chekhov was the nephew of Anton Pavlovich Chekhov on his father, who was Anton Pavlovich's older brother. In 1907, Mikhail Chekhov entered the Theater School named after A.S. Suvorin at the theater of the Literary and Artistic Society and soon began to successfully perform in school plays. In 1912, Stanislavsky himself invited Chekhov to the Moscow Art Theater. In 1928, not accepting all the revolutionary changes, Mikhail Alexandrovich left Russia and went to Germany. In 1939, he moved to the USA, where he created his own acting school, which was extremely popular. Marilyn Monroe, Clint Eastwood and many other famous people passed through it. Hollywood actors. Mikhail Chekhov occasionally acted in films, including Hitchcock's Spellbound, for which he was nominated for an Oscar for Best Supporting Actor.

Chekhov's theatrical principles. In his classes, Chekhov developed his thoughts about the ideal theater, which is associated with the actors’ understanding of the best and even divine in man. Continuing to develop this concept, Mikhail Chekhov spoke about the ideology of “ ideal person”, which is embodied in the future actor. This understanding of acting puts Chekhov even closer to Meyerhold than to Stanislavsky.

In addition, Chekhov pointed out the diverse stimulants of the actor’s creative nature. And in his studio he paid great attention to the problem of atmosphere. Chekhov examined the atmosphere on stage or film set as a means to help create a full-fledged image of the entire performance, and as a method for creating a role. The actors who studied with Chekhov performed a large number of special exercises and sketches, which made it possible to understand what the atmosphere was, according to Mikhail Alexandrovich. And the atmosphere, as Chekhov understood it, is a “bridge” from life to art, the main task of which is to create various transformations of the external plot and the necessary subtext of the events of the play.

Mikhail Chekhov put forward his understanding stage image actor, not included in Stanislavsky’s system. One of the essential concepts of Chekhov's rehearsal technique was the “theory of imitation.” It consists in the fact that the actor must first create his image solely in the imagination, and then try to imitate its internal and external qualities. On this occasion, Chekhov himself wrote: “If the event is not too fresh. If it appears in consciousness as a memory, and not as directly experienced at a given moment. If it can be assessed by me objectively. Anything that is still in the sphere of egoism is unfit for work.”

(1858-1943) – Russian and Soviet theater teacher, director, writer and theatrical figure. Vladimir Nemirovich-Danchenko was born in Georgia in the city of Ozurgeti into a Ukrainian-Armenian family of a nobleman, a landowner of the Chernigov province, an officer of the Russian army who served in the Caucasus. Vladimir Ivanovich studied at the Tiflis gymnasium, from which he graduated with a silver medal. Then he entered Moscow University, which he successfully graduated from. Already at the university, Nemirovich-Danchenko began to publish as a theater critic. In 1881, his first play “Rose Hip” was written, and a year later it was staged by the Maly Theater. And starting from 1891, Nemirovich-Danchenko already taught at the drama department of the Music and Drama School of the Moscow Philharmonic Society, which is now called GITIS.

Nemirovich-Danchenko in 1898, together with Stanislavsky, founded the Moscow Art Theater, and until the end of his life he headed this theater, being its director and artistic director. It is worth noting that Nemirovich-Danchenko worked under a contract in Hollywood for a year and a half, but then returned to the USSR, unlike some of his colleagues.

Stage and acting concepts. Stanislavsky and Nemirovich-Danchenko created a theater that had a huge influence on the development of Soviet and world art. The largest Soviet directors and actors were brought up in the spirit of their creative principles, which are quite similar. Among the features of Vladimir Ivanovich, one can highlight the concept he developed about the system of “three perceptions”: social, psychological and theatrical. Each type of perception must be important for the actor, and their synthesis is the basis of theatrical skill. The Nemirovich-Danchenko approach helps actors create vivid, socially rich images that correspond to the ultimate goal of the entire performance.

Berholt Brecht

(1898 -1956) - German playwright, poet, writer, theater figure. Bertholt studied at the folk school of the Franciscan monastic order, then entered the Bavarian Royal Real Gymnasium, which he successfully completed. First literary experiments Brecht dates back to 1913; from the end of 1914, his poems, and then stories, essays and theater reviews, regularly appeared in the local press. In the early 1920s in Munich, Brecht tried to master filmmaking, wrote several scripts, and based on one of them he made a short film in 1923. During the Second World War he left Germany. In the post-war years, the theory " epic theater”, put into practice by Brecht the director, opened up new possibilities for performing arts and had a significant influence on the development of theater of the 20th century. Already in the 50s, Brecht's plays became firmly established in the European theatrical repertoire, and his ideas in one form or another were adopted by many contemporary playwrights.

Epic theater. The method of staging plays and performances created by Berholt Brecht is to use the following techniques:

• inclusion of the author himself in the performance;
• the alienation effect, which suggests a certain detachment of actors from the characters they play;
• compound dramatic action with epic storytelling;
• the principle of “distancing”, which allows the actor to express his attitude towards the character;
• the destruction of the so-called “fourth wall” separating the stage from the auditorium, and the possibility of direct communication between the actor and the audience.

Alienation Technique proves to be a particularly original take on acting, adding to our list of leading acting schools. In his writings, Brecht denied the need for the actor to get used to the role, and in other cases he even considered it harmful: identification with the image inevitably turns the actor into either a simple mouthpiece for the character or his lawyer. And sometimes in Brecht’s own plays, conflicts arose not so much between the characters, but between the author and his heroes.

Possibilities of theater pedagogy in the context of new educational standards

(in general and additional education)

Kosinets E.I., teacher and director

Klimova T.A ., psychologist

Nikitina A.B., Ph.D. in History of Arts,

Research staff of MIOO

Theater pedagogy represents not only a special professional discipline of creative universities, not individual techniques of one of the areas of the educational field of “Art”, but a holistic education system, prominent representatives of which are both the leaders of the professional theater school (P.N. Fomenko, O.P. Tabakov, S. Zhenovach, etc.) and the leaders of general education (E.A. Yamburg, S.Z. Kazarnovsky, A. N. Tubelsky and others).

Theater pedagogy - this is an education system organized according to the laws of improvisational play and genuine productive action, taking place in circumstances that are exciting for the participants, in the joint collective creativity of teachers and students, facilitating the comprehension of the phenomena of the surrounding world through immersion and living in images, and providing a set of integral ideas about a person, his role in the life of society, his relations with the outside world, his activities, his thoughts and feelings, moral and aesthetic ideals.

Theater pedagogy is part of art pedagogy. Two main trends in understanding this phenomenon can be identified: narrow - this is pedagogy, which is implemented in art lessons (art, music, Moscow Art Theater, theater, etc.) and more broad – pedagogy, which is based on holistic-imaginative thinking and practices of living the content of education in any subject areas. In this collection we will talk about art pedagogy in its second meaning (although some of the practices that we will talk about were primarily formed in art lessons and only then could they become relevant for any educational content).

Pedagogy of art implemented through the creation open creative educational environment . In the artistic and creative educational environment there is something that initiates the movement towards the Image: it is always questioning and problematizing environment . The role of the teacher initiating the environment here is to expose, sharpen and actualize issues for all participants in co-existence. At the same time, the teacher cannot think of himself as the bearer of the true answer, because each time he is looking for a living understanding anew. It is precisely this environment that initiates an endless chain of questions, and thereby continuity of education process .

What initiates a developing person (child, student) to engage in dialogue with the questioning artistic and creative educational environment? Perhaps the most pressing problems of the modern world, in which it is difficult for a person to identify himself as a HUMAN. Science and technology only interfere; they fix his applied functions, and the pedagogy of art helps the individual Man see himself in the mirror of Humanity. The main topic of dialogue in an artistic and creative educational environment can be any problem: scientific, creative, religious. But the main goal will always be the formation of an image of the world and an “image of Self” in this world. The ideals of different eras highlight consonances within the personality. “I” looks into the mirror of cultural eras and discovers points of connection and dialogue.

The place of theater pedagogy in

structure of modern pedagogical approaches

Activity environment:

Pedagogy of art:

Theater pedagogy:

Features of the way of knowing in theater pedagogy

Today, during the transition to new educational standards, pedagogical goals and objectives are subject to radical revision and correction in terms of priorities, as well as expected results and ways to achieve them. “The standards are based on a system-activity approach,” which assumes “a focus on educational results as a system-forming component of the Standard, where personal development the student on the basis of mastering universal educational actions, cognition and mastery of the world is purpose and main result of education " 1 . The standard establishes requirements for personal, subject and meta-subject results of students, implementing a competency-based approach. Competence is understood as a system of skills that allows the active use of acquired personal and professional knowledge and skills in practical or scientific activities. It is the artistic and creative environment that is the educational space within which the active formation, development and application of competencies is possible.

Personal results, according to the Standard of General Secondary Education, include: “the readiness and ability of students for self-development and personal self-determination, the formation of their motivation for learning and purposeful cognitive activity, systems of significant social and interpersonal relationships, value-semantic attitudes reflecting personal and civic positions in activities, social competencies, legal awareness, the ability to set goals and make life plans, the ability to understand Russian identity in a multicultural society” 2.

Theater pedagogy has the resources to actively develop the above-mentioned basic competencies in the process of collective creative activity. Such activities create conditions for the sociocultural adaptation of the individual, which is the first and important step towards his professional, personal self-determination and further self-realization.

Many years of experience in the work of children's theater groups, as well as an experiment specially carried out within the framework of the state program “Modernization of artistic and aesthetic education in experimental conditions” to create specialized classes of artistic and aesthetic orientation, showed that graduates of theater classes and studios have self-organization skills and more clearly define the circle their future professional interests. They receive experience of personal responsibility for a common cause, they learn to set immediate goals and objectives (including creative ones), plan their activities, carry out ongoing monitoring, analyze the results obtained, correlating them with the initial objectives, set new goals and objectives arising from this analysis. In addition, the experience of theater work shapes the ability to express one’s thoughts and feelings in one artistic form or another. Students receive teamwork experience, in which the individuality of everyone is inscribed in the outline of a common creative endeavor that gives a visible, socially significant result. In the process of this work, students gain experience in solving both organizational, technical, and creative, artistic problems, which will be useful to them in the future in any field of activity. Moreover, they form a habit non-standard creative approach to solve any problems.

It is no secret that today the media, and more broadly, the structure of the information field, with all its diversity, is such that it contributes to early standardization of thinking. To avoid this, it is necessary to regularly instill creativity in children already at primary school age. One of the best, although not the only, space for creative testing that is as close to life as possible is the theater. Theater, as a syncretic art, allows one to preserve and develop a living creative spirit in a child. However, this only happens if development is not replaced by a rigid system of teaching work according to a model (reproductive learning system) which involves the introduction of external rather than the cultivation of internal content.

It is necessary to especially note the important role of theater for students - ionophones. Theater classes and participation in performances help children of different nationalities see their common folklore roots, feel how the playful nature of different nationalities is similar in their origins, and feel the universal similarity. And working on the texts of productions helps to master new language in the process of play and creativity.

History of the issue. The school theater has been known in Russia since the 17th century. And the debate about the benefits and harms of theater where children play, about the priorities of artistic or pedagogical goals in children's creativity, has been going on in Russia since the mid-19th century. It began with an article by the world-famous surgeon and at the same time trustee of the Odessa educational district Nikolai Ivanovich Pirogov “To be and to appear” 3, published in 1858. "N.I. Pirogov drew the attention of teachers and parents (who saw children's performances as a way to show off their children) that performing on stage in the presence of an outside audience gives rise to vanity in young performers. The beginnings of lies and pretense are introduced into the child’s receptive soul, he ceases to be himself (honest, truthful and natural) and begins to seem like what he is supposed to be according to his role, that is, to lie and pretend.” 4 However, he recognized the pedagogical benefits theatrical productions for children, believing that public speaking is harmful. And playing “for your own” promotes speech development.

A.N. also recognized the pedagogical benefits of home and school productions. Ostrovsky. Gymnasium performances in dead languages ​​are given “not for the development of young artists acting skills“, since in such productions “the performing arts are not a goal, but a means, and the goal is pedagogical: classical languages, classical literature.” 5

Influenced by the idea of ​​the pedagogical benefits of theater classes with children, several areas of work have grown and are still developing today, for example, artistic and pedagogical dramaturgy of the lesson L.M. Predtechenskaya and many others. All of them, one way or another, are aimed at introducing theatrical methods and techniques, the principles of constructing a performance into the fabric of educational activities, into the structure of the lesson.

Leading concepts of modern theater pedagogy in school and their authors. It must be admitted that the leading concept of school theater pedagogy today has become "Socio-game" . Its authors conducted the largest number of experimental studies and implementations, developed a well-thought-out scientific base, and provided it with a significant number of methodological publications. The largest number of regional studies have been carried out under their wing, it is written great amount scientific works. This direction grew out of the rich scientific heritage of one of the largest theater theorists, a student of K.S. Stanislavsky, Pyotr Mikhailovich Ershov. His daughter, Candidate of Pedagogical Sciences Alexandra Petrovna Ershova, in collaboration with psychologist-researcher E.E. Shuleshko and Doctor of Pedagogical Sciences V.M. Bukatov, continued the ideas of P.M. Ershov in the field of theater pedagogy in line with its application in the field of general education.

Next in depth and scale of scientific work should be called the concept "Open directorial and pedagogical action" , developed by Professor, Honored Worker of Culture of the RSFSR, Head. Department of Directing and Acting at the Perm State Institute of Culture V.A. Ilyev.

The third concept, which has in its arsenal scientific developments, methodological support, experimental practice, experience in implementation and publication - "Directing and Root Pedagogy" . This is a concept developed by the students of the director, candidate of art history S.V. Klubkov on the basis of his author’s methodology and scientific research of 1997 “THE LAST STUDIO OF K.S. STANISLAVSKY (1935 – 1938)”, carried out at the Institute of Art History under the guidance of Doctor of Art History E I. Polyakova.

The fourth concept can be called « , developed by a team of employees of gymnasium No. 205 "Theater" in Yekaterinburg based on the theatrical and pedagogical ideas of G.L. Rias. Team of authors: N.E. Basina, E.Z. Kraisel, N.N. Sanina, Ph.D. ped. Sciences, Associate Professor N.P. Sulimova, O.A. Suslova, E.N. Tanaeva, E.E. Khramtsova, - created a number effective programs for secondary schools and additional education, as well as for retraining teachers. They were the initiators of many scientific conferences and collectors of scientific and practical experience, and published several collections of programs. But, unfortunately, the author’s conceptual ideas in this direction have not yet been strictly formulated, and the direction has practically no scientific publications.

Let's call it the fifth "System of pedagogical directing" Director of the NOU – Center for Pedagogical Technologies “Eugenics” in St. Petersburg E.V. Kozhary. The experimental base, as far as can be understood from a single publication, is somewhat narrower than that of previous researchers, and the scientific basis is described more modestly.

You can also point out the great contribution of O.A. Antonova (Lapina), Doctor of Pedagogical Sciences, Professor, Advisor to the President of the National Olympic Committee "Smolny University", head of the project "The Future of Theater Education". Her work "Sh stake theater pedagogy as a socio-cultural phenomenon" , of course, opens up the opportunity to create and comprehend another author’s concept in the field of school theater pedagogy, but today it looks rather like an integration of the above concepts.

In addition, for the real development of school theater pedagogy, it is important to note the centers of practical development as essential. Living practice, especially in pedagogy and theater, very often precedes analytical generalizations and is richer, more meaningful and more varied than description and theoretical understanding. It is important to recognize the established practice as a real force, often as a unique and promising school and concept.

Real practice does not spread over the Internet as easily as text. Therefore, recording established practical centers, with experience that is not formalized (or insufficiently formalized) in texts, we are aware that we may be missing something.

As a separate direction, we can highlight the concept of organizing the author's Moscow school No. 686 "Class Center" , created by S.Z. Kazarnovsky. This is a concept based on the deep integration of education and art, in particular the institute of secondary school and the institute of theater. Let's call it for convenience "School - Theater" . To one degree or another, with all the differences and nuances, schools that implement a similar concept include Moscow school number 1060 (author and first director - A.A. Pinsky, now director - M.I. Sluch), "School of Self-Determination" No. 734 (author and first director - A.N. Tubelsky), CO No. 109 (author and director E.A. Yamburg), gymnasium No. 1543 (author and director Yu.V. Zavelsky). Obviously, this direction has much in common with the concept « Theater pedagogy as a means of creating a developing educational environment" , developed by a team of employees from gymnasium No. 205 "Theater" in Yekaterinburg.

Also based on the ideas of integration is a concept-reflection, consonant with the ideas of the above centers, clearly expressed in the work of the author’s Moscow Center for Children’s Creativity "Theater on the Embankment" , created by F.V. Sukhov. In this approach, the art of theater is philosophically and methodologically in first place in the pair, and education is in second. So let's call this direction "Theater - School" . And here, too, we can talk about the conditional inclusion in this direction of a number of structures in which teachers work who are quite familiar with the author’s methods of F.V. Sukhov, or who intuitively move in similar directions. Among the Moscow organizations we would venture to name "Soffit Children's Mobile Theater" (director - N.M. Logvinova), from Russian - children's theater studio "Paraphrase" Glazov (head – D.Kh. Salimzyanov), Children's School of Theater Arts named after. A. Kalyagina Vyatskiye Polyany (directors - S. and N. Suvorov), theater "Dialogue & Dominant" Gubakha (director – L.F. Zaitseva), theater "Bird" Izhevsk (head – S.G. Shanskaya).

Gradually, a special direction of work was born and formalized in the general mainstream, which was called “ artistry of pedagogical work" This direction was intended to help the teacher in developing his professional competencies. 6

Russian specialists have always maintained contact with foreign figures in children's theater and pedagogical movements. This cooperation developed within the framework of the international associations of amateur theater (AITA) and theaters for children and youth (ASSITEZH). And in the 80s, the Institute’s theater laboratory art education RAO, within the framework of which the scientific research was carried out, began to cooperate with the international world association “Dram Education” (“Drameducation»).

A distinctive feature of this trend in Russia (socio-game style) is that games in the classroom are “... 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 children, but to allow them, having become interested, to voluntarily and deeply be drawn into it” 7 .

The introduction and systematic use of a socio-game style in the educational process makes it possible to create an environment that initiates the formation and development of competencies. It is important to note that we are talking not only about the achievement of meta-subject results by students, which is obvious with this approach, such as the mastery of interdisciplinary concepts and universal educational actions (regulatory, cognitive, communicative), “the ability to apply them in educational, cognitive and social practice, independence in planning and implementing educational activities, organizing educational cooperation with teachers and peers, building an individual educational trajectory" 8 ; but also for the formation of certain subject competencies.

Principles of theater pedagogy. The basic principles of theater pedagogy are clearly visible in the descriptions of “Directors and Root Pedagogy” by S.V. Klubkova. One of the main things for theater pedagogy is, principle of integrity, it is taken into account not only when constructing theatrical training exercises, but also for any system of tasks aimed at personal development, since the elements of a living natural system are closely interrelated and do not exist and do not function separately from each other.

It logically follows from the principle of integrity "grain" principle, i.e. in the very first and simple exercise, the entire System, all its elements and laws are contained as a seed, and further exercises are their development. Thus, training is the study of a living integral system in development. From a simple, but integral living thing - to a complex, integral living thing. And the development is endless. Transferring this principle to the educational system makes it possible to solve the problem of the mosaic picture of the world that a child develops during the learning process, its isolation from real life, and the preservation of the integrity of the worldview at each stage of its development. You can already see how the application of these principles influences children’s attitude towards learning, enhances motivation, and contributes to the formation of a holistic, balanced personality.

Path initiation of creative approach has a special nature. This is a path of creative search, a path of discovery, so it is very important that it begins in an area where there are no evaluation criteria, where nothing limits the freedom of imagination, freedom of creativity. Limitations to this freedom must appear, gradually, as proposed circumstances, as problems to be solved, as difficulties to be overcome, and not as prohibitions. Then the development of competencies occurs as a result of one’s own discovery, and not as a ready-made given by someone. At the same time, students are involved emotionally, mentally, physically - with the whole being of their personality - in the process of living a creative search. In this case, we can have no doubt about the strength of the discoveries obtained, because they are immediately consolidated, becoming the basis of basic competencies.

Theater pedagogy in school is also characterized by the principles of productive action, productive partner communication, event-based expression of the educational process, the principle of playful improvisation, the principle of meaningful diversity of mise-en-scenes of educational activities, the principle of the primacy of non-verbal expressive means, the principle of changing the role positions of the student and teacher, the principle of delegation of significant educational roles process (carrier of information, carrier of ideas, refereeing, etc.) to the student body and many others, which are not possible to name and disclose within the framework of this article.

In the articles below you can see how the use of theater pedagogy methods allows you to solve the problems of achieving subject results not only in the field of theater, where specific professional competencies are formed, but also in any other subject area of ​​general or additional education.

Festival as an open educational environment. Children's theater festivals contribute to determining the educational opportunities of the theatrical environment: “Theatrical Ladushki” in the city of Glazov, “Circle of Friends” in Gubakha, “Primroses” in Zelenograd, “Golden Key” in Moscow, etc.

In Moscow, the festival-seminar of children's theater pedagogy “Prologue-Spring” attracts special attention. The purpose of the festival is not to find out who is better. The main thing is that it is alive creative communication its participants, enriching each other’s experience. Creating an atmosphere of joyful, positive creativity, empathy for the creative successes of others, and unity in personally significant activities. The educational space of the festival provides an opportunity to solve problems of introducing children to reading and to develop historical thinking. Festival programs often include creative lessons related to the comprehension of physics, biology, geography, mathematics and other exact and natural sciences. Such festivals allow teachers to overcome the feeling of loneliness in the profession, and children to feel involved in a unified children's theater movement and a unified creative school thinking and living. A festival built on such principles is a variety and experimental model of an artistic and creative educational space.

However, the festival is an event that happens once a year. To organize a permanent space for the exchange of experiences, creative presentation, discussion of common issues and solutions to common problems arising in the process of theater pedagogy, the Laboratory of Interactive Technologies of the Department of Aesthetic Education and Cultural Studies of the Moscow Institute of Education and Science, with the support of the Moscow City Department of Education and the Teacher's Newspaper, created the Children-Theater club. Education".

Theater pedagogy, both in the narrow and broad sense of the word, has rich and varied opportunities for creating conditions for the development of basic competencies that meet the requirements of modern Education Standards. Today, invaluable experience has been accumulated in the system of special professional, additional, and general education in organizing theatrical work with children, experience in conducting children's theater festivals, and clubs. This experience represents a colossal resource for the development of the educational and cultural system in Russia. It is important not to lose this wealth and use it wisely.

To summarize, it is important to note that the concept presupposes a system of theatrical work with children, including various shapes and methods of classroom and extracurricular activities, both within the framework of general and additional education. Staging performances, dramatizations, sketches, miniatures, theatrical performances, game trainings; viewings and discussions of performances (children's and professional groups); lessons of theater and spectator culture, as well as various gaming and theatrical techniques introduced directly into general education lessons.

Many researchers identify the following main forms of theater pedagogy in school:

School theater,

Schools with theater classes,

Schools with a theatrical atmosphere,

Children's Creativity Center - Theater,

Theater Arts School,

Children's spectator clubs at professional theaters,

Integration of humanities subjects and the educational field of “art” based on theatrical work and theatrical pedagogical methods,

Introduction of theatrical pedagogy methods into the work of primary school teachers in all lessons, in educational and extracurricular activities,

Targeted application of theatrical pedagogy methods in a variety of general education lessons at primary, secondary and senior levels.

All this variety of forms and methods of theatrical work with children is united in the concept school theater pedagogy, since it is designed to solve educational, educational and developmental problems inherent in pedagogical practice.

1FEDERAL STATE EDUCATIONAL STANDARD OF BASIC GENERAL EDUCATION Order of the Ministry of Education and Science of the Russian Federation No. 1897 of December 17, 2010. C.2