Iti theater pedagogy. School theater pedagogy - an experience of interdisciplinary synthesis

Noun, number of synonyms: 1 province (56) ASIS Dictionary of Synonyms. V.N. Trishin. 2013… Synonym dictionary

- (Picardie), historical region. in N. France, in the bass. R. Somme, off the coast of the English Channel. Pl. OK. 19.6 thousand km², main city Amiens. In the XII–XIV centuries. gradually annexed to the possessions of the French king, in 1482 it finally became part of France... Geographical encyclopedia

Picardy- (Picardy, French Picardie) Picardy, 1) ex. Prov. north France, between Normandy and Flanders; During the First World War, a major battle took place here; 2) an area in northern France, located on the site of the former. Prov. Picardy, including... ... Countries of the world. Dictionary

- (Picardie) historical region in northern France, off the coast of the English Channel. The territory of P. is included in the departments of Aisne, Somme and Oise. Area 19.6 thousand km2. Population 1650 thousand people. (1973). The main city is Amiens. Industry employs 35%... ... Great Soviet Encyclopedia

One of the 32 former provinces of France, in the north. zap. its parts. When Caesar conquered Gaul, the area that later formed P. was inhabited by the Ambions, Vermandui, Morini and Belovacians. Under the Merovingians it formed part of Neustria. After… … Encyclopedic Dictionary F.A. Brockhaus and I.A. Efron

- (Picardie) source region in northern France (territory of the modern Somme, partly Aisne, Oise and Pas de Calais). Center Amiens. Terr. P., inhabited by Celtic tribes, in the middle. 1st century BC e. was conquered by Rome, and in the 5th century. francs. In the 9th century on the territory P. are formed... ... Soviet historical encyclopedia

- (Picardie), historical region and modern economic region in the north of France. Includes the departments: Somme, partly Aisne, Pas de Calais, Oise. 19.6 thousand km2. The main city of Amiens... encyclopedic Dictionary

PICARDIE, administrative region in eastern France (see FRANCE). Includes the departments: Aisne, Somme, Oise. Area 19.4 thousand km2. Population 1.87 million people (2004). Regional center Amiens (see AMIENS). In the east, Picardy borders... ... encyclopedic Dictionary

PICARDIE (Picardie), a historical region in northern France, part of the administrative region of Picardy (see PICARDIE (administrative region)). Includes the Somme department, the northern parts of the Aisne and Oise departments. Area 19.6 thousand km2. Main… … encyclopedic Dictionary

Historical region and modern economic region in northern France. Includes the departments: Somme, partly Aisne, Pas de Calais, Oise. 19.6 thousand km². Population 1.8 million people (1992). The main city of Amiens... Big Encyclopedic Dictionary

Picardy is a region of France. Clovis I (c. 466-511) performed his great feats of uniting various Frankish tribes into the powerful state in other regions of Gaul, but historical truth is this: at the Battle of Soissons in 486, he defeated the Gallo-Romans, and from this began his path to the throne. Picardy developed away from the turbulent process of state building: consistently and logically, in line with the general patterns of the history of Western Europe, without missing a single period of this history. Just like before Clovis.
Judging by the stone tools of labor and hunting found and according to the interpretations of these finds by archaeologists and paleontologists, people appeared on the territory of present-day Picardy approximately 450-300 thousand years ago. And they never left it, leaving traces of their presence in every historical period. Third millennium BC. e. dates back to a large burial near the Highway-Tirancourt in the Somme department, it is one of the most significant monuments of its kind in Western Europe. From the middle of the second millennium BC. e. The territory of the future Picardy begins to be inhabited by the Celts. Here they mastered the technology of iron processing, switched from a nomadic to a sedentary lifestyle, began to plow the land, build fortresses and create a social-hierarchical structure. While in 57 BC. e. after the appearance of the legionnaires of Julius Caesar, they did not fall under the rule of the Romans. In 16 BC. e. their lands became part of the Roman province of Belgica, which occupied a vast territory from the Seine to the Marne.
Under one of the last emperors, Majorian, the Roman province of Soissons was formed in 459, which after the fall of the Roman Empire in 476 turned into the kingdom of Syagria (named after the Gallo-Roman governor). It was he who was defeated by Frank Clovis, creating his kingdom of Neustria. Under his son Chlothar I (c. 500-561), Soissons became the capital of Neustria, which owned all the northern lands of France. Picardy remained part of Neustria under his descendants from the House of Merovingians in the 6th - first half of the 8th centuries). Under the Carolingians (second half of the 8th - end of the 10th centuries) it became part of the Frankish kingdom, from 800, under Charlemagne (748-814) - the empire of the West. In 843 the empire was divided. Picardy became part of the Kingdom of the West Franks (843-987). At this time, the counts of Vermandois, Amiens, Ponthieu, Boulogne, and Soissons were gaining political weight in Picardy.
Later, under the Capetians (987-1328), representatives of these families tried to ensure that the lands of Picardy became part of a small but royal domain; this happened at the end of the 10th century. Cities begin to grow in the region, and thanks to the arrival of settlers from neighboring Flanders, where cloth production was developed, cloth factories also appeared in the Picardy cities, and with them many artisans who began to fight for the autonomy of their commune cities: Abbeville, Amiens , Perona, Noyon, Saint-Quentin, Lana, Cambrai. The struggle proceeded with varying success, sometimes taking the form of uprisings. But in the end, the kings realized that it would be better for the entire state to provide this required independence to the cities. King Philip II Augustus (1165-1223) already supported the recent rebels, although not disinterestedly; for their support they paid him a separate tax. The same king bought the county of Cpermont-en-Bovesy from the heirs of Count Thibault and annexed it to the royal domain.
From the 13th century the lands of the ruling counts of Vermandois, Ponthieu, Boulogne, Bovesy, Laonne, Noyonne in the Somme basin begin to be called Picardy - according to one of the prevailing versions (not confirmed by documents), thanks to the skillful handling of spears (pikes) of the warriors from these places.

The main thing that the rest of us know about Picardy is that in the Middle Ages, majestic temples of extraordinary beauty appeared in it one after another. Gothic cathedrals were built, of course, not only there, but it is still believed that it is the Picardy temples that best embody the classical and most elegant style in French Gothic - radiant. We are talking about six architectural masterpieces. This cathedrals Notre-Dame in Amiens (the largest in France), Saint-Pierre in Beauvais, Notre-Dame in Laon, Notre-Dame in Noyon, Saint-Wulfran in Abbeville, Notre-Dame in Senlis. But besides them, there are many other Catholic churches and chapels in Picardy, not so famous, but no less interesting. At this time, Picardy was the name given to an area much larger than the present one; it included not only the entire territory north of Paris to the Hop-Pas-de-Calais region, but also part of Flanders. Today, French historians include the Somme department, the northern part of the Aisne department and a small territory in the north of the Oise department to the historical region of Picardy.
But it’s enough to look even at today’s map of Picardy to understand why major battles so often took place on its territory. The Romans laid excellent roads here, and the plains and hills provide ideal bridgeheads for the deployment of troops. The history of medieval Picardy is associated with several wars. On August 26, 1346, near the village of Crecy-en-Ponthieu, one of the the most important battles The Hundred Years' War (1337-1453), which remains in history as the Battle of Crecy. It was not only soldiers who fought. Two peasant uprisings entered the history of Picardy: in 1251 it was the “shepherds’ revolt,” which also covered the south of Flanders, and in 1358 Picardy became the main arena of the “Jacquerie.” Both uprisings were crushed, with numerous casualties, as always happened in those days in similar cases. In 1435, according to the Treaty of Aras between the French king Charles VII and the Duke of Burgundy, Philip III the Good, Picardy was ceded to Burgundy. In 1463, Louis XI bought the cities of the Somme from Philip III the Good. But his son Charles the Bold started a war with France for Picardy, during which the Burgundians were defeated at the Battle of Nancy on January 5, 1477, and Charles the Bold died. According to the Treaty of Arras in 1482, Picardy was returned to France, and in the 16th century. became its province. In 1557, 1595, 1636, troops of the Spanish Habsburgs invaded from Flanders. With the division of France into departments in 1790 during the French Revolution, the province of Picardy ceased to exist. Most of it entered the Somme department; the remaining parts were divided between the departments of Aisne (Thieraches and part of Vermandois), Oise (parts of Amienois and Santerre) and Pas-de-Calais (Boulogne, Calesie, parts of Ponthieu and Marchenterre).
On November 27, 1870, during the Franco-Prussian War of 1870-1871, the Battle of Amiens took place. The Germans won. Both the First and Second World Wars did not escape Picardy. The most significant battle of the 20th century. for her - the Battle of the Somme (from June 24 to mid-November 1916). In 1919, regions were restored in France, and among them Picardy, although later its borders were still adjusted. In May 1940, it was occupied by Nazi troops and liberated by Allied troops in September 1944. In both cases, through bloody battles. This, fortunately, was the end of their series. And maybe that’s why it is in this region of France that the most holidays take place on a variety of occasions. These are holidays of cities and villages, various sports, flowers, fruits, musical and circus festivals. The most colorful and crowded of them are those accompanied by costumed historical processions and performances. And the beautiful natural landscapes, cathedrals and architectural monuments this land is the best scenery for them.

general information

Administrative division: three departments.

Capital: Amiens, 134,381 people. (2011).

Language: French.

Ethnic composition: French - 93%, people from North Africa and Asia - 7%.
Religions: Christianity - Catholicism (54%) and Protestantism (3%), Islam and other faiths - 7%, atheists and agnostics - 36%.

Currency unit: Euro.

Largest cities: Amiens, Saint-Quentin, Beauvais.

Largest rivers: Aisne, Oise, Somme.

Most important airport: Beauvais-Tille international low-cost airline airport in Beauvais (85 km from Paris).

Numbers

Population: 1,913,689 people (2010).
Population density: 98.6 people/km 2 .

Average altitude above sea level: 99 m, the highest point is a hill near the village of Vatigny (284 m).

Economy

GDP: €43,725 million (2009).

GDP per capita:€22,894 (2009).
Industry: aircraft manufacturing, automotive manufacturing, transport (railway transport) and agricultural engineering, chemical industry - production of cosmetics, pharmaceuticals using environmentally friendly chemical production technologies. Food industry. In the research sector - development of innovations within the framework of the green economy.
Agriculture: growing wheat, barley, hops, potatoes, fodder and sugar beets, fruits and vegetables, peas, chickpeas. Viticulture. Dairy and meat farming, sheep breeding. Breeding cattle.

Service sector: transport services, tourism.

Climate and weather

Average January temperature:+5°C.

Average temperature in July:+20°С.
Average annual precipitation: 720 mm.

Attractions

Curious facts

■ There is a legend about how the white lily became the heraldic symbol of the French kings of the Merovingian dynasty. According to it, King Clovis chose this flower as a symbol of the purity of his soul after his baptism in Reims in 496. But why was Clovis, given all his merits and role in the history of France, not canonized by the Catholic Church, like his wife Clotilde? Most likely, because, having already become a Christian, he cruelly and treacherously persecuted everyone who opposed the absolutism of his power, including his closest relatives and recent allies.
■ A large number of roads and railways pass through the territory of Picardy, connecting the center of France with its northern regions, the Benelux countries. Small towns and villages in Picardy can be seen literally around every turn of the road. And in total there are 2291 in Picardy locality(commune).
■ In 1906, the General Confederation of Labor (CGT), the largest trade union organization in France, at its congress in Amiens adopted a document that remained in history as the Amiens Charter. It formulated demands for the transfer of all enterprises into the hands of workers and the abolition of wage labor as such. These demands were enthusiastically supported by labor organizations in many countries around the world at the time. Fortunately, life has proven that the demand to “take everything away and divide it up” is destructive for the economy as a whole, and for the working class itself.

The synthetic nature of theatrical art is an effective and unique means of artistic aesthetic education students, thanks to which children's theater occupies a significant place in the overall system of artistic and aesthetic education of children and youth. The use of theatrical art in the practice of educational work helps to expand the general and artistic horizons of students, general and special culture, enriching aesthetic feelings and developing artistic taste. education art game behavior

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

In the first half of the 19th century, student theater groups became widespread in gymnasiums, not only in the capital, but also in the provincial ones. From the biography of N.V. Gogol, for example, it is well known that while studying at the Nizhyn gymnasium, the 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 practice school life There was a purely ostentatious, formalized attitude of teachers towards the school theater.

At the same time, at the end of the 19th - beginning of the 20th centuries, a conscious attitude towards theater as the most important element of moral, artistic and aesthetic education was established in domestic pedagogy. This was largely facilitated by the general philosophical works of leading Russian thinkers, who attached exceptional importance to the problems of the formation of a creative personality and the study of the psychological foundations of creativity. It was during these years that in Russian science (V.M. Solovyov, N.A. Berdyaev, etc.) the idea began to be established that creativity in its various expressions constitutes a moral duty, the purpose of man 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, and 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 for us teachers a direct discovery of a new force 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 children preschool age brought up in a family, the most suitable form of theater is the puppet theater, the comic theater of Parsley, the shadow theater, and the puppet theater. On the stage of such a theater it is possible to stage various plays of fairy-tale, historical, ethnographic and everyday content. Playing in such a theater can usefully fill free time child under 12 years of age. In this game you can prove yourself to be both the author of a play, staging your favorite fairy tales, stories and plots, and a director and an actor, playing for all the characters in your play and a master needleworker.

From puppet theater children can gradually develop a passion for dramatic theater. With skillful guidance from adults, you can great benefit To develop children, use their love of dramatic play.

Introduction to pedagogical publications late XIX- the beginning of the 20th century, statements by teachers and children's theater workers indicate 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, expedient production, adapted to children’s development, worldview and to the national characteristics of a given region.” “In connection with the educational impact of children’s theater,” the resolution also noted, “there is also its purely educational significance; dramatization of educational material is one of the most effective ways application of the principle of visibility."

The issue of children's and school theater was also widely discussed at the First All-Russian Congress of People's Theater Workers held in 1916. The school section of the congress adopted an extensive resolution that touched upon the problems of children's, school theater and theater for children. In particular, it was noted that the dramatic instinct, inherent in the very nature of children and manifested from 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.

Advanced teachers not only highly valued the possibilities of theater as a means of visual learning and consolidation of knowledge acquired in school lessons, but also actively used a variety of means of theatrical art in the everyday practice of teaching and educational work.

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

Interesting and instructive is the experience of educating pedagogically neglected children and adolescents using theatrical art, gained by the outstanding teacher S.T. Shatsky. The teacher considered children's theatrical performances as an important means of 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 the criminalization of youth is active spiritual work that meets the interests of this age. And here, the school theater, armed with the techniques of theatrical pedagogy, becomes the club space where a unique educational situation develops. Through a powerful theatrical medium - empathy educational theater unites children and adults at the level of common cohabitation, which becomes effective means influence on 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 goals for serving young audiences. Both the first and second represent a significant scientific and methodological problem.
• 3. Theater as an educational subject that allows you to implement the ideas of a complex of arts and apply acting training in order to develop the social competence of students.

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

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

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

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

It is worth remembering that the heyday 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 playful nature, is a powerful means of education precisely through living the spiritual cultural models of humanity.

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

The urgent need for social changes in society has prompted 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 the base 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 individual, at the time necessary for the common cause, responsibly and consciously finds his place in the general process of doing - this is probably how one can determine 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 harmony, “do as I do,” but it presupposes a wider scope of manifestations of the student’s 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 the children themselves organize such a search creative activity They cannot and are grateful to the person who organized a holiday of research and communication for them. But the holiday will not take place if the “master of the house” is feeling unwell. Equality between the teacher and children not only in the right to make mistakes, but also in adequate interest. An adult should also be interested in the game; he is the most active fan of the success of the game. But his role in it is organizational; he has no time to “play around.” The organizer of the holiday is always in trouble about “products”, “fuel” for interesting mental activity of children.

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

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

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

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

• 1. The principle of improvisation. “Here, today, now!” Be ready to improvise in tasks and conditions of its implementation. Be prepared for mistakes and victories for both your own and your students. Overcoming all obstacles is met as an excellent opportunity for children to communicate lively with each other. Seeing the essence of their growth in moments of misunderstanding, difficulty, questioning.
• 2. Don’t “chew” every task. The principle of information deficiency or silence. “I didn’t understand” in children is often not associated with the process of understanding itself. This could be simply a defense - “I don’t want to work, I’ll take time”, a desire to attract the teacher’s attention and the school habit of “freeloading” - the teacher is obliged to “chew everything and put it in his mouth.” Here the comments are necessary, business-like, the most urgent, giving the initial guidance for the joint activities and communication of children with each other. It is necessary to give the opportunity to clarify with peers a really unclear question. This does not mean writing off what our children have long been accustomed to, it means legalizing mutual assistance. Such clarification is more useful for both than repeated explanations from the teacher.
• 3. Even if the children do not really understand the task, but they are doing something, do not rush to interrupt and explain the “correct” option. Often, performing a task “incorrectly” opens up new possibilities for its application, a new modification that would not have been thought of before. Perhaps what is more important here is the children’s activity itself, and not the correct fulfillment of the task conditions. It is important that there is a constant opportunity for training in finding a solution to the problem and independence in overcoming obstacles. This is the principle of the priority of student initiative.
• 4. Often 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 teamwork work effectively and are constantly honed. A change in role functions is being developed (teacher-student, leader-follower, complementary), since the composition of the groups is constantly changing. There is an objective need to include each group member in the work, since holding responsibility for the group may fall to any of the participants by lot. This is the principle of action, not ambition. “Today you play Hamlet, and tomorrow you are an extra.”
• 6. The principle “Don’t judge...” Tact is developed in the ability to “judge” the work of another group based on the case, and not on personal sympathies and claims, which result in mutual grievances and pain. To avoid such “showdowns,” the teacher needs to establish business-like, specific criteria for assessing the completion of tasks. For example: did you or didn’t manage to meet the deadline? Were all or not all group members involved in demonstrating the answer? Do you agree or disagree with the answer? Such unambiguous criteria, not related to assessments “like - dislike, bad - good,” initially control, first of all, the organizational framework of the task. In the future, studying evaluation criteria, students learn to track and note the objective, rather than taste, aspects of a phenomenon. This makes it possible to alleviate the problem of clashing ambitions in teamwork and more constructively keep track of the material mastered.

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

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

The subject of “theater pedagogy” is educational, educational, formative and developmental aspects of theatrical art. The object of “theater pedagogy” is the principles and mechanisms of creativity in artistic and theatrical activities. The genesis of theater pedagogy and general patterns of “theater” education: a game(from imitation to development); theatricality(from "mimesis" to "transformation" and "transformation"); theatricalization(conditionally symbolic codification of cultural and educational educational processes). Types of theater pedagogy: general (general education or “syncretistic”); special (differentiated); “artistic”, creative (studio). Paradoxes of the development of the theatrical pedagogical method. Factors in the formation and development of theater pedagogy (subject-object and subjective-objective).

SECTION III

THEATER PEDAGOGY IN THE GENERAL EDUCATION SYSTEM AND DIFFERENTIATION PROCESSES

Topic 1. History of the formation of “theater” education in Russia (second half of the 17th - first half of the 18th centuries). The model of state (state) education is “court” education “by decree of the sovereign.” The first Russian school of “amusing business” (Gregory – Chizhinsky – Kunst). Socio-psychological features of the emergence of theatrical culture in the context of national transformations along the lines of “tradition – culture – innovation” (“compulsory” nature of teaching “comedy wisdom”). Cultural prerequisites for the formation of “personality”. Medieval method of “modal” (craft-guild) education.

« Scientist” – “book” – “school” theater and the cultural environment of spectacular theatricalization in the first half of the 18th century. Spiritual and educational tradition of “school theater”. Functional and educational pragmatism of school theater. The internal struggle between the “Jesuit” (etiquette and normative program) and “Jansenist” (“free” education or “Great Didactics” by Ya. A. Komensky) traditions of “school theater”. Specifics of the Russian national model of school theater. Methods of teaching and artistic and aesthetic development. “School” of Russian “hunters” of the 40s of the 18th century (“game”, “educational” and “theatrical” syncretism).

Topic 2. Personal universalism of the first theater workers Russian Theater. Personalities: Matveev, Gregory, Volkov, Dmitrevsky. Personality-oriented method of organizing the first Russian theater. The concepts of “tribal”, “social” and “universal” personality (according to Vl. Solovyov). Boyarin Matveev is a “statesman”. The universalism of the scientist, pastor, warrior, politician, “director”, playwright, teacher I.G. Gregory. F. Volkov is the first Russian actor. Dmitrevsky I.A. – from theological seminary to the Russian Academy of Sciences. Dmitrevsky's pedagogical method (experience with the pupils of the Orphanage).

Topic 3. Processes of differentiation in the general education system and “syncretism” of theater education in Russia in the 19th century.

3.3.1. Formation of a system of “state” education. “Syncretism” of pedagogy of the Imperial Theater Schools. Processes of genre differentiation and problems of pedagogy in dramatic art. The system of classicist theater pedagogy in the Russian school of tonal-plastic declamation (Katenin, Gnedich).

3.3.2. Reform of theater schools. Tradition of private theater schools(Society of Performing Arts Lovers in St. Petersburg, Philharmonic Society in Moscow). Voronov's project - main provisions: an actor needs mental and physical training.

“Artistic circle” A.N. Ostrovsky as a “model” of the Dramatic Courses of the Imperial Moscow School Theater School at the Maly Theater (Ostrovsky, Yuryev: 1888). The problem of the relationship between general education and special education. University professorship in the Theater School program.

3.3.3. "Education through theatre." Pedagogy of “cultural” entrepreneurs (Medvedev, Nezlobin). Three “schools” – three “game systems”: “gut”, “experiences” and “ideas”. Development of elements of the stage method of “reincarnation”.

DEVELOPMENT OF THEATER AND PEDAGOGICAL METHOD IN THE SYSTEM OF STAGE ARTS

Topic 1. Traditions of Russian theater and stage pedagogy in the context of the formation of domestic pedagogy. “Acting” pedagogy: the method of transfer “from hand to hand.” School of acting traditions. Pedagogical “testaments” of M.S. Shchepkina - practical justification for the need scientific method: labor, observation, transformation.

The pedagogical impact of Russian criticism and Belinsky’s journalistic method and his pedagogical principles of rational activity. The practice of stage influence and Ushinsky’s “active learning method”. The concept of “pedagogical process”, attention to the internal process of self-education, self-development of a person through his own activities (Kapeterev). Self-education and self-study (from the receptive imitative method to constructive “self-making”) in the acting environment. Axiom of theater pedagogy M.N. Ermolova: “An actor cannot be raised and trained if you do not raise a person in him.” Artistic mimesis and imitation as a method of self-education.

Pedagogical method of A.P. Lensky: gentleness, intelligence, inspiration, artistry, the absence of a strict system of technological training, the purpose of the school is “to develop and direct the natural abilities of the student, but not to endow him with them”, “to clarify for the students the full depth and difficulty of the task they have undertaken”, but not “teach how to play on stage.” The role of the work of the subconscious and intuition in the work of an actor, which are the basis of creative inspiration. Psychological foundations acting art– correlation of sensitivity with self-control as a condition for great performance, expressing mental condition and the action of the stage image.

Drama School of the Moscow Philharmonic Society (Yuzhin, Nemirovich-Danchenko): Yuzhin is a “stage teacher.”

Topic 2. “Stage” pedagogy . Theater school at the beginning of the twentieth century. Processes of self-education. Moscow Art Theater School (1902). Adashevskaya school. Theater teaching is “Zharovets’ extras,” “authoritarian imitation,” and Stanislavsky’s pedagogical commandment is “not to imitate genius.” O. Gzovskaya – Stanislavsky’s first student: the “trial and error” method. “Experimental” pedagogy in the play – K.S. Stanislavsky “rehearses”: a set of exercises for “attention” and “imagination” in the production of the play “Hamlet”, “psychological naturalism” in the play “A Month in the Country”. Experimental and laboratory experience of the studio “on Povarskaya”: Stanislavsky - Meyerhold.

“Director-teacher” Vl.I. Nemirovich-Danchenko: “discovery” of talent, self-discipline, “purification of traditions”, “ethical justification” of acting, ideological and civic education by “repertoire politics”, “cognition of humanity”, “following Life, man and his dream”, educate and develop courage and fearlessness to “look horror in the eye”, intelligence and culture.

Topic 3. Personality-oriented method of theater pedagogy: “Stanislavsky’s system.” 3.1. Stages of formation of the “Stanislavsky system” (from imitation to introspection and self-education). The main task of the “theory” is to provide guidance on the independent path of development of a creative personality, based on self-education creative individuality. Introspection (from Latin introspecto - looking inside) as the main method of personal self-development. The general concept of creativity and the unified basis of art are the general laws of “pre-expressive” creativity. Stage-by-stage differentiation of the creative process: 1) “perception of impressions,” 2) “their processing,” 3) “their reproduction.” Psychology of aesthetic perception of an “artificial sign” and its reproduction in artificial systems of activity - theatrical stage (L. Vygotsky).

3.2. Six “main processes” of acting: 1) preparatory process of will (“intention”); 2) the process of searching for spiritual material for creativity “in oneself and outside oneself” (religion, politics, science, art, education, ethics, prejudices, nationality, climate, nature); 3) the process of experiencing - “creating in your dreams an internal and external image of the person depicted” (imagination); 4) the process of embodiment - “creating a visible shell for your invisible dream”; 5) the process of merging - combining together the processes of “experience” and “embodiment”; 6) the process of influence - communication “of the poet with the viewer through the figurative creativity of the artist.”

General scientific and theoretical definition of the IV stages of the creative process: 1) preparation (“weaponization”), 2) “maturation” (incubation), 3) inspiration (“heuristic experience”, “aha-experience”, “illumination”, “insight” /English insight - insight, intuition, direct comprehension) and 4) verification of truth (verification).

3.3. Psychological and theoretical justification of the stage method of K.S. Stanislavsky. Psychology of feelings T. Ribot – mechanisms of attention and “circles” of attention, theory of affects and psycho-emotional memory. D. Johnson – “stream of consciousness” and “internal monologue, “method of introspection” (reflection), “mental experience”, “principle of will”. A.A. Ukhtomsky – processes of excitation, inhibition and the mechanism of lability, the doctrine of the dominant, the assimilation of rhythms of external stimuli by organs, the principle of the dominant and volitional acts in the implementation of intended tasks, the role of the “subconscious dominant”. THEM. Sechenov – “reflex nature of conscious and unconscious activity”, “physiological processes as the basis of mental phenomena”, “rhythmic processes in the central nervous system” and “muscle release”; I.P. Pavlov - “goal reflex” and “method of physical action” (MPA).

3.4. Methods of acting psychotechnics(“training and drill”). Psychological aspects training and education in performing arts and a holistic complex of “psychophysical action” of acting. “Three pillars of acting psychotechnics” according to K.S. Stanislavsky – 1) imagination, 2) attention and 3) emotional memory, interconnected by direct and feedback connections. Muscle release (development of a muscle controller) as a technique for overcoming mental tension. Experience in acting psychotraining (from the Greek psyche - soul and English training), as the beginning of the development of a system of exercises in order to develop maximum performance and prepare for tests.

3.5. "Stanislavsky's system" as a creative "metatheory" artistic development, education, training of the director and actor, as a search for ways to the subconscious creativity of the actor according to the laws of nature. Psychological mechanisms of the subconscious in the processes of theatrical creativity as unconscious mechanisms of conscious actions: 1) unconscious automatisms; 2) unconscious attitudes; 3) unconscious accompaniments of conscious actions (P.V. Simonov).

Interaction of areas of consciousness: subconscious (automatic mode), consciousness itself and “superconsciousness” or “superconsciousness” (M.G. Yaroshevsky). Stanislavsky’s concept of “super-super task”, denoting the personal-motivational sphere of the actor (“dominant need” according to Simonov), as the main factor in the realization of natural abilities and creative self-actualization (A. Maslow).

Creative will is “a continuous series of volitional desires, choices, aspirations and their resolution in reflex or action.” The quality of creative will and talent and their difference from neurologically contagious hysteria. The doctrine of the supertask, as a consciously held dominant action, is the active organization of inspiration (“internal impulse”) through the technique of acting. Psychological justification for the method of physical action (MAP) as the inability of direct volitional influence on the “nature of feelings.”

3.6. Polytechnic basis of the “system” K.S. Stanislavsky. General principles of the “system” in the context of the development of psychology as a scientific method (Vygotsky’s cultural-historical method) and the problem of a unified method of theatrical art. Vygotsky’s main thesis is that theatrical practice does not convey the “system” in all its depth, does not exhaust the entire content of the “system,” which can have many other ways of expression.

Stanislavsky’s original scheme “mind – will – feeling” (“impression – processing – reproduction or expression”) and the structure of interaction: “task – supertask – supertask”. Physiological formula: “stimulus – response – reinforcement” (theory and psychology of behavior: Sechenov, Pavlov, behaviorists). Theatrical and aesthetic development of the artistic and creative principle of “alienation” by E.B. Vakhtangov and the “artificial sign” of L.S. Vygotsky: “stimulus – sign – reaction – reinforcement” (where the artificial, “cultural” sign is the key image of the free goal orientation of action). Methodological approaches to work on the role: “naturalness for super-fantasy” according to Stanislavsky and “artificiality for super-reality” - according to Vakhtangov-Vygotsky.

3.7. Psychological structure of the creative process: 1) perception of an “artificial sign” and 2) its internal processing (processes of interiorization - interpretation) - choice, evaluation in an “artificial” environment (stage, theater), and 3) mechanisms of expression (processes of exteriorization) - “sign” - “ image" - "symbol" (artistic "grammar", "structure" of stage language).

American behaviorism (behavioral psychology represented by J. Dollard and N. Miller) and four conceptual elements of the learning process:

S ––––––––––––– D ––––––––– R ––––––––––P –––––––––– O

Stimulus ––––– “drive” –––– reaction – reinforcement––– evaluation

Grade- attitude to social phenomena, human activity, behavior, establishing their significance, compliance with certain norms and principles of morality (approval and condemnation, agreement or criticism, etc.). The initial triad (stimulus - response - reinforcement) in artificial systems (value, aesthetic, artistic, etc.) and the action algorithm:

need –– “sign” ––––– choice –––– assessment –––––––– interaction (dialogue).

Topic 5. “Polytechnic” system of theater education and cultural educational methods of pedagogy. The cultural and historical orientation of the “traditionalists” and the cultural educational principle of the experimental and laboratory pedagogy of the studio “on Borodinskaya” V.E. Meyerhold. “School of Acting” in Leningrad (1918) and the first comprehensive theater education program (Meyerhold, Vivien, Soloviev). The principle of polytechnicism. The structure of the educational and pedagogical process. Method of artistic generalization. The principle of “refusal” in Meyerhold’s method. Pedagogical principles of biomechanics. Methods of training in biomechanics.

"Aesthetic" school of "synthetic actor". "Method" Chamber Theater(Tairov, Koonen). The basic principle of “synthetic” pedagogy is the original “syncretism”. Method of artistic reproduction of style formations. Two techniques: internal and external. Emotional content of the form-gesture.

SECTION V. STUDIO PEDAGOGY – PEDAGOGY OF CREATIVITY

Topic 1. Method " free development». The first studio of the Moscow Art Theater (Stanislavsky's plan) and the method of “free development” (Tolstoy-Sulerzhitsky). Development of creative individuality and personal self-determination. Studio atmosphere. Monastic-guild organization of the studio. Ethical principles for organizing the studio process. Persons: E.B. Vakhtangov, M.A. Chekhov.

Topic 2. The problem of classifying “studio movement”. Experimental and laboratory studios – “theater construction” (Meyerhold). Studio-schools of human education (Vakhtangov). Art and theater studios (Chekhov). Journalistic direction of tone-plastic studios (professional and educational tasks of Proletkult). Artistic studios (Stanislavsky's studio experience in opera studio Bolshoi Theater 1918-1924). Creative associations (“Berezil” by Kurbas).

The main thesis of E.B. Vakhtangov: the studio is an “institution”, “which should not be a theater”, for “true art always serves goals that lie outside the sphere of art itself.” Theater “studios-schools” as an artistic and creative (“creative”) environment for development and formation. Principles of creative pedagogy: “problem” and “advancement” - promising development technologies. Integrative functions of studio pedagogy and means of their implementation. Studio “universalism” – “communication”, “community”, “collectivity”, “conciliarity”. Principles of conflict resolution through creativity: “creative conflictology.”

Topic 3. Principles of studio pedagogy . The law of the studio and the specific characteristics of the studio phenomenon as a search for theatricality. Studios as the basis for the formation and development of theater pedagogy. Levels of creative behavior: life, studio, role. The performance as an expression of the internal experience of the team. Technological problems of organizing the studio theater process.

1) The basic principle of studio education is the unity of the ethical and aesthetic, social, moral and creative. 2) The principle of a single rhythm of the organization (as the ethical mutual obligation of studio members on the basis of pedagogical axiology - the context of universal human values; “discipline” as “satisfaction of internal needs”). 3) The principle of reality of spiritual life (the truly creative basis of artistic imagination). 4) The principle of joint activity-cooperation (“synergy”). 5) The principle of individual creative development (“the individual in the universal”). 6) The principle of interindividual connections. 7) The principle of artistically creative autonomy – the search principle (heuristic) of the “workshop”, “laboratory”. 8) The principle of amateur performance. 9) The principle of self-government (“Council”, “family”, “order”). 10) The principle of self-improvement (as the basis of the ethical and aesthetic education of the individual). 11) The principle of creating a creative environment (“atmosphere of creativity”). 12) The principle of creative activity. 13) The principle of the game (as a field of free, natural and relaxed activity). 14) The principle of the figurative nature of theatricality (“artistic education” - “fantastic realism of the artistic image”). 15) The communicative principle of the “general education” of the individual (sincerity, attentiveness, thoughtfulness, delicacy, tact). 16) The principle of complexity is an integrative principle of technological organization of training. 17) The principle of consistency, focus and continuity of self-development. 18) The principle of “missionary” (purity high ideals, “aspiration”). 19) The principle of forming studio traditions.

SECTION VI. THE ART OF THE DIRECTOR AS A VIEW

PSYCHOLOGICAL AND PEDAGOGICAL ACTIVITIES

Topic 1. Directing as a type of artistic and stage activity. Director (from Latin regio - I manage) is an “artist” who, based on his own creative concept(interpretation of the work) creates a new stage reality.

1. The triple structure of directorial activity in performing arts: stage director; director-interpreter; director-teacher (Vl.I. Nemirovich-Danchenko).

"Producer"– the ability to carry out organizational activities to unite all elements of production work on a performance, including actors, artist, composer, etc.

"Director-interpreter"– interpreter (lat. interpretatio) – interpretation, explanation, creative development of works of art associated with its selective reading: in artistic “vision”, director’s “reading” (“script”), acting role(character – image).

"Director-teacher"(paidagogos - educator) - practical work on the upbringing, education and training of an actor through the disclosure of the laws and traditions of performing arts, dramatic material, principles of artistic creativity and knowledge of life (section of psychological pedagogy).

Topic 2. Directing as practical psychology– unification of all areas of psychological knowledge aimed at 1) assistance in the implementation creative development and the realization of the director as an artist; 2) assistance in understanding the principles and mechanisms of creativity, as well as the laws of performing arts; 3) assistance in understanding and understanding the laws of life as the basis and material of performing arts. Psychology of performing arts as a field of psychology that studies the creative activity of stage artists - actors, directors - and the process of perception of stage works by the viewer. Its features are determined by the specifics of its subject: 1) stage art as one of the ways of knowing a person; 2) the specific duality of emotions experienced by both the actor and the viewer; 3) the “invisible” relationship between the author and director and the viewer. Directing as a tool for analyzing the parameters (dimensions) of human interaction in a system of dramatic tension - struggle-conflict (P.M. Ershov).

Topic 3. Psychological foundations of “director’s thinking.” 3.1. Three main approaches to creating an artistic and scenic image and in its stage embodiment (the triad “playwright - “composition” (play) - “performer” (director - actor): 1) subjective - coming to the fore of the personality of the “performer” (“lyrical”); 2) objective – accurate representation of what is being performed or depicted (“narrative” according to the “archaeological” principle of “protocol truth”); 3) synthetic – achieving the unity of the first two.

3.2. The basis of stage directing(“author’s”) – the internal vision of the performance as a whole (“director’s” imagination). Reading the play as literary work and the “theatrical reality” of the text. Cultural-historical perception and reproduction of the semantic levels of a dramatic work as a “dialogue” with the past (the mechanism of interaction “progress - regression”). “Interpretation of the classical heritage is a form of self-knowledge of culture” – thesis of A.V. Bartoshevich. Text and subtext arising from the meaning of the action, as ways of organizing the stage space: mise-en-scène, tempo-rhythmic construction, editing articulation of different genre layers, sound and color range, etc.

3.3. Image of the performance as a synthesis of semantic modeling of dramatic action and staging conventions. Processes of interaction between space-time “dimensions” of a dramatic text: time layer – logic of development of action, characters, ideas; spatial - figurative-metaphorical structure of artistic construction of the emotional-extra-logical level (images-symbols, leitmotifs, eternal plots - “accumulators” according to M. M. Bakhtin, “archetypes” according to K. G. Jung).

3.4. Typology of director's work: “pedagogical” and “production” directing. The performing privilege of being “whole” and being “part of the picture.” The production level of generalization in the system of relations between the director and the actor according to two formulas (Krechetova R.):

1) (actor-image) + (scenography-image) + (music-image) = image of the performance

2) (actor + scenography-image) + (music + actor-image) = image of the performance

SECTION VII. CREATIVE PEDAGOGY FOR THE DEVELOPMENT OF HUMAN UNIQUENESS

Topic 1. Concepts of personality and individuality in various “methods” of theater pedagogy. A structural approach to the abilities of an actor as a performer, from the point of view of psychology and theater workers of different “schools” and directions. Typology of acting activity: “actor-puppet”, “actor-person”, “artist-role”, “human-instrument”, “theme actor”, “reincarnation actor”, etc. in the context of the problem of “acting or personality” (lyricism, confessionality, intellectuality, etc.). Cultural and historical conditioning of the “acting type” (“emotional”, “intellectual”, “social”, etc.). Psychological characteristics of the “individual image of an actor” in the “subconscious unifying stream of creativity” (P. Markov).

Topic 2. The problem of developing general, special and creative abilities.

Autonomy of creative abilities (Epiphany). General foundations of artistic thinking. Technique of self-government and development of the aesthetic complex. Nurturing creative attention and imagination in various forms of psychophysical training (Stanislavsky, Chekhov, Vakhtangov, Meyerhold. See “Appendix”). Psychological originality of the director's personality. The "director's" problem of the utilitarian approach to the performing actor.

General foundations of artistic thinking. Technique of self-government and development of the aesthetic complex. Cultivating creative attention and imagination in various forms of psychophysical training. Comparative analysis of pedagogical methods and teaching methods is the basis of “technological” thinking.

Topic 3. Theatricality as a system for modeling role functions. The principle of theatricality as an opportunity for psychotechnical modeling of “oneself as another.” Correlation between the categories “theatricality” and “game”. Role-playing game or "imaginary situation"(L.S. Vygotsky) – the pinnacle of the evolution of gaming activity. Psychological mechanisms of identification in systems of “artistic imitation”.

“Role” concepts of conditionally symbolic behavior. Gaming technologies and the principle of “game personification”. Psychotechnical mechanisms for modeling role functions in conditions "game personification".

Theatricalization as a form of expression of scenario-dramatic game models. The subjective principle of developing creative technologies based on psychological and pedagogical correction of individual development.

The principle of alienation as a technique (Vakhtangov - Brecht) and the law of authorial alienation in the process of creative creation. Mechanisms of identification (identification-alienation), assignment of social roles and artistic transformation. Theatricalization and the formation of creativity (analogy – allegory – symbolization). Practice of education of elements of organic behavior. The problem of relationships between teaching methods of differentiated special disciplines and game development technologies.

Topic 4. Subjective principle of developing technologies for creative development.

General didactic principles of theater pedagogy. General patterns of creativity and a single pedagogical method. Methods, directions, schools as ways of organizing an integrated complex of technological developments. The concept of self-organization (synergetics) of the creative process. Intentional principles of organizing the process of self-education - self-learning, self-education, self-development.

Object context of management and organizational concepts: Bogdanov’s “organizational principle” and formative systems of pedagogy. Subjective context of organizational concepts: principles of self-organization and subject management (self-government). The concept of “professional self-diagnosis” and self-organization techniques (“professional and creative psychotechnics”). Methods of children's amateur performances and self-organization as the implementation of an individual approach. The concept of a “single method” and a variable-combinatorial approach to solving issues of organizing the studio theatrical and artistic process.

Topic 5. Principles of modeling the educational process in a theater studio on the basis of content material as a single development process. “Craft-shop” model of training and methods of disciplinary approach to training. “Monastery-guild” (closed) model of education and methods of forming a creative environment. “Cultural-educational” and “artistic-restoration” modeling of education. “Experimental-laboratory” model of “theater construction”. Creative model of “free development”. An integrated model for organizing a creative amateur association.

Principles of modeling the educational process in a conventionally theatrical environment: the concept of “creative field”. Modern didactics and integrative processes of searching for “metateatrical” and “paratheatrical” principles of human behavior.

REFERENCES for Part II

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

Theater pedagogy assumes changing the role of the teacher.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Role-playing game - This is another technique of theatrical pedagogy (pair or group sketches). Role-playing game is speech, game and educational activities simultaneously. She has great learning potential.

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

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

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

Role-playing has great motivational potential.

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

“Warming up” exercisespantomimic character

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Bibliography:

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