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

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 performing arts, like Stanislavsky, Meyerhold, Chekhov, Nemirovich-Danchenko and Berhold Brecht. All these people made significant contributions to performing arts. And therefore, if you see yourself as an aspiring actor, this article will be useful to you.

(1863 - 1938), famous Russian actor and 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 exists to this day.

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 of complete revaluation aesthetic values, 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 was engaged in 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 Hollywood actors passed through it. 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 the “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 considered the atmosphere on the stage or set as a means of contributing to the creation of a full-fledged image of the entire performance, and as a method for creating a role. The actors trained by Chekhov performed a large number of special exercises and studies that made it possible to understand what the atmosphere is, 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 theater 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. In their spirit creative principles, which are quite similar, brought up the largest Soviet directors and actors. 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 of “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 in 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;
• combining 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.

It's hard to imagine an actor who would learn to act just by reading and listening to how others do it. An actor learns by acting himself. Or imagine that the director “forgot” about the viewer and did not think about how to capture his attention, how to make him a participant in what is happening - for the poor viewer, the performance will not take place, even if he patiently sits in the hall for two hours.

This feature of the theater, for which all teachers should love it, is the need for maximum personal inclusion of everyone in the process of theatrical action.

In addition, directors have long noticed: when students learn the basics of acting, they learn many things that are useful in life far beyond the stage. They overcome psychological barriers, their motivation to explore the world increases, they learn to perceive artistic images of art, and develop communication skills.

So why not use the tools developed for actor training to solve complex pedagogical problems in schools?

There is a lot to learn from the theater. Pedagogical practices who find in the theater a source of educational tools, are united in a special system - school theater pedagogy. And today she gives her answers to many challenges facing education.

Principles of theater pedagogy

It’s rare that a literature teacher didn’t try to role-play a fable in class, and we all went through school plays for various holidays, when the main roles go to those who can speak loudly. If this happens chaotically, if the teacher does not set any goals other than “finish the play by March 8” or “diversify the activities of students in the lesson,” then this will be of little use.

Theater pedagogy does not necessarily imply the performance of skits.

This is a view of the educational process as a dramatic event that engages participants on an emotional level.

Theater pedagogy is a practical direction of modern psychology and art pedagogy, implementing in education the principles of eventfulness, living, personal creative action and improvisation, connecting intellectual, sensory and emotional perception.

Psychologist Tatyana Klimova, senior lecturer at the Department of Cultural Studies and Aesthetic Education of the Moscow Institute of Educational Institutions (this is one of the few institutes where various existing directions theater pedagogy), explains why traditional ideas about teaching as the transfer of knowledge, skills and abilities into modern world does not work.

Tatiana Klimova

psychologist, senior lecturer at the Department of Cultural Studies and Aesthetic Education, MIOO

Today, the most brilliant teacher cannot compete with the media environment. Dmitry Bykov's lectures are available on the Internet, and it is rare that a literature teacher can compete with him in terms of mastery of the material, provocativeness, inventiveness, and paradoxicality. The teacher must win this competition due to what only he can give - due to a different quality of communication. The teacher must become an organizer of the educational environment, a director who organizes his lesson space in such a way that it becomes a dramatic field of interaction.

Theater pedagogy (as part of art pedagogy) proposes the creation of an open creative environment for live communication. Dialogue in this artistic and creative environment can be on any topic (from science to religion), but its goal will always be the formation of a holistic picture of the world, the simultaneous development of the student’s emotional and intellectual abilities.

The principle of eventfulness means that something must happen during the activity that changes the world for the participants in the activity. Before the event happened for you, you were a little different, you thought a little differently, you acted a little differently. Through experiencing events, a person develops.

Principle of residence determines that an event cannot be the result of accepting external conditions. It can only be the result of personal experience, discovery.

Education in theater pedagogy becomes the territory personal creative action. During the learning process, creative freedom can be limited gradually through the proposed circumstances, problems and difficulties that must be overcome, but not through prohibitions. If this principle is observed, all competencies become the result of personally significant discoveries, and not the imposition of dogma.

And finally principle of improvisation- distinguishing feature theater pedagogy. A good actor must act before he can think. Spontaneity and spontaneity are qualities that allow a child to reveal his potential, but which are often “stifled” by the traditional educational system. And a teacher who cannot be spontaneous himself, is afraid to improvise, will not teach this to another.

Tatiana Klimova

psychologist, expert on theater pedagogy

Theater pedagogy is about meaningfulness. Here, as on stage, you immediately see Stanislavsky’s “I believe - I don’t believe.” “Is it fake or does it really exist?” - a very important moment for education. One teacher imitates teaching, he does not have this personal discovery in the lesson. And the other one truly explores, reflects, doubts, and therefore- teaches, and it’s not a question of the amount of knowledge, not remembering dates and names.

How theater pedagogy is present in schools

Toolkit that every teacher can use in their lessons

How do you enter class? Do you think the magazine roll call - The best way keep students interested for the next 35 minutes? How do you conclude the lesson? Is what you are talking about relevant for the students? Do they manage to make a discovery that is personally significant to them during the lesson?

Theater pedagogy introduces into regular schools the techniques that are practiced in acting and directing training. They allow you to gain attention, speak beautifully, and feel the dynamics of what is happening in the class. They help to activate passive guys and cope with the excess energy of overly active ones. Many of them are related to a sense of time, with an understanding of how to organize 40 minutes of a lesson in order to gradually “warm up”, pass the climax point and comprehend what happened. Understanding how space in the classroom can be used differently - arranging desks in a circle or planning a lesson so that children move in groups from corner to corner - this is also related to theatrical practice, which has the concept of mise-en-scène.

“Start with anything, just not with a lesson. You have to surprise the class"

In Moscow, entire gymnasiums and lyceums are showing interest in theater pedagogy, whose directors understand that artistic environment has a powerful stimulating effect on children. Among them is the “Class Center” by Sergei Kazarnovsky, one of the first institutions of this format, when the theater becomes an integral part school life. At the Moscow Chemical Lyceum, upon admission, children, future physicists and chemists, are required to agree to mandatory participation in theater and music clubs. There are seven school theaters at the Lomonosov School in Sokolniki.

A fragment of the play “From Baldy” by students of the “Class Center” school and analysis of the fragment with the school director - director Sergei Kazarnovsky.

And such attention to the theater is not accidental: it allows you to liberate yourself, to create something that does not leave others indifferent. It also creates a space for informal communication, filled with universal human meanings - there are so few such spaces for modern children.

Going to the theater

Teachers can be “special agents” of the theater among the younger generation, teaching children to understand art and bringing them into the auditorium. Therefore, another direction of theater pedagogy is developing at the intersection of the interests of school and professional theater.

Any theater needs an audience, and at some point theaters realized that the audience needs to be educated.

There is a fairly developed system of preparing a child for an encounter with art, developed by theater and museum teachers. The essence of such preparation is the ability to talk with the child about what he will see before going to the theater, museum or other art space, and discuss with him his emotions and experiences after.

The ability to conduct a dialogue with a child about art needs to be developed, and for this, many theaters organize various events for teachers secondary schools. For example, at the Tovstonogov Bolshoi Drama Theater in St. Petersburg, the Pedagogical Laboratory operated for two years - a long-term project, during which teachers of St. Petersburg schools became acquainted with the theater and the tools of theater pedagogy through a series of trainings, seminars and creative projects. Regular master classes for teachers and theater classes are held at the A.S. Theater. Pushkin in Moscow.

Psychologist, director of special projects at the Moscow Drama Theater. A.S. Pushkin Olga Shevnina shares her experience in preparing schoolchildren (and not only) to perceive a theatrical performance.

Theater pedagogy has become a popular topic on the agenda of various theater festivals. If a major theater event is taking place in your city, be sure to look at the program of events; there will probably be master classes for teachers from theater teachers. Of course, no one will master the entire system in one master class, but it is quite possible to get a feel for how certain approaches work. For deep immersion, there are advanced training courses at the Moscow Institute of Open Education and the Russian State Pedagogical University named after. Herzen.

Theater pedagogy is not “ with a magic wand”, which will solve all problems in one stroke: I found a “point of surprise” in the lesson - and immediately motivation increased, the emotional atmosphere improved and creative initiative emerged. There are no miracles. But a systematic and meaningful appeal to theatrical practices, to personal improvisation, to the artistic image can turn the school routine into a space of intellectual and emotional discoveries.

The Russian school is experiencing one of the most dramatic stages in its history today. The structures of the totalitarian state have been destroyed, and along with them the well-functioning system of education management. Programs and textbooks and the “question-and-answer” method of transferring regulated knowledge, skills and abilities are hopelessly outdated. Educators and philosophers offer various concepts of the educational process, innovative teachers offer original teaching methods and techniques. Various types of schools are emerging: public, private, alternative. At the same time, the question of the goals, content, and teaching methods remains open and concerns not only the domestic school, but is relevant throughout the world.

The need to build a new type of school that meets the needs of society in cultural personality capable of freely and responsibly choosing their place in this contradictory, conflict-ridden, dynamically changing world. Apparently we're talking about about the formation of a new pedagogical paradigm, new thinking and creativity in the educational field. A school of a “culture-creating” type is born, building a unified and holistic educational process as a child’s path to culture. 1

Unlike an educational school that transmits knowledge, a new school aims to transfer the cultural experience of generations. And this means experience of life in culture, communication with people, understanding of cultural languages ​​- verbal, scientific, artistic. In such a school - and this trend is clearly growing today - special role will belong to art, since in its

1 Valschkaya A.P. Education in Russia: strategy of choice. - St. Petersburg: publishing house of the Russian State Pedagogical University named after. A.I. Herzen, 1998.-128p. In images, humanity is reflected throughout world history, and today’s man recognizes himself in the faces of the past.

The Federal Law “On Education” formulates the first principle of state policy in the field of education as follows: “the humanistic nature of education is the priority of universal human values, human life and health, and the free development of the individual”2. This provision argues for the personal orientation of educational programs, which means the need to adjust the pedagogical goals and technologies implemented in each of the disciplines of the curriculum. School theater pedagogy, acting as a tool for interdisciplinary integration, involves mastering the cultural experience of generations on the path of directly including the child in cultural creative activities.

The school theater contributed to the solution of a number of educational tasks: live training colloquial speech; acquisition of a certain freedom of circulation; "learning to speak before society as speakers and preachers." A.N. Radishchev called school theater“a theater of benefit and action, and only incidentally with this - a theater of pleasure and entertainment.”3

Feofan Prokopovich 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 in a harsh life and similar to captive imprisonment.”4

In the second half of the 17th century, Jan Amos Comenius formulated the “Laws of a Well-Organized School.” Under the number nine in this work was written: “Laws on theatrical performances,” which “are very useful to give in schools.”

Thus, school theater pedagogy 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. Theater as a phenomenon, as a world, as a subtle instrument of artistic and social cognition and change of reality, represents the richest opportunities for the development of a teenager’s personality. In other words, theatrical activity is a child’s path to culture, to moral values, and a path to himself.

Theory K.S. Stanislavsky is a means of developing the creative inclinations and abilities of a teenager both in the field of perception and appreciation of works of art, and in own creativity. It develops active attention, observation, and the ability to fantasize. There are especially great opportunities in theater work with high school students. It is in high school that teenagers begin to become deeply interested in issues of art. During these years, there was a search for moral ideals, criteria for aesthetic assessments of the phenomena of reality.

The revival of school theater as an active educational form of activity is the need for humanistic pedagogy, focused on the development of personality. School theater is a means of developing the creative inclinations and abilities of a teenager, both in the field of perception and appreciation of works of art, and in their own creativity. It develops active attention, observation, and the ability to fantasize. It fascinates with its emotionality, organicity, and spontaneity.

The psychological and pedagogical approach serves to substantiate the processes of personal development of students and is the methodological basis for determining the methodology for organizing theatrical activities as an educational process. School theater pedagogy is considered as artistic and aesthetic creativity and form educational activities in its theory, history and practice.

School theater pedagogy as a form of educational artistic and aesthetic activity that meets the needs of culture for self-preservation and development has a powerful potential for a universal impact on the individual, since it contributes to the formation of a constructive and creative personality of a dynamic type, identifying himself with his native culture, accepting universal humanistic values.

School theater as a phenomenon of culture and education, arises in the depths of culture, is natural to theater as an art form and goes through the path of historical formation from syncretic forms of primitiveness and Ancient world to the functional definition of educational school theater late Middle Ages, to independent existence in the educational systems of the New Age.

In the development of cultural pedagogy, the capabilities of school theater can hardly be overestimated. This kind educational activities was widely and fruitfully used in school practice of past eras, known as a genre from the Middle Ages to the Modern Age.

The socio-cultural phenomenon of school theater pedagogy lies in its ability to model life and introduce students through this model into the world of universal culture. Theater as knowledge of the world, as self-knowledge of a person, gives a holistic understanding of the world and a sense of oneself in it. Theater appeals to the entire stock of human emotions, experiences, to the entire range of human feelings and abilities. As a synthetic art form, it affects all aspects of the personality, universally acting in the direction of its movement towards culture, shaping the body, soul and spirit.

The essential function of theater as a model of a person’s relationship with another person, with society, nature and God, which is played out in specific situations, destinies, and conflicts, remains unchanged and is becoming more and more refined.

The genesis of school theater pedagogy can be traced from its syncretic presence in primitive culture to its educational and civic function ancient theater; from the functional isolation of school theater in the Middle Ages to the emergence of an independent theatrical genre in the Baroque era and the establishment of its educational function, moralizing, educational role in the Enlightenment era to the theoretical understanding of school theater pedagogy as a pedagogical problem at the end of the 19th and beginning of the 20th centuries.

Thus, school theater pedagogy as an independent form of educational artistic and aesthetic activity developed in Russia during the 17th-18th centuries. together with the formation of the education system in theological academies and other educational institutions, and in the Age of Enlightenment it acquires the status of a universal way of introducing the student into the system of socio-cultural connections.

Throughout the 19th-20th centuries. school theater is conceptualized as pedagogical problem, relevant in education focused on the preservation and reproduction of the cultural experience of generations.

Varies in artistic eras the functions of theater are emphasized - training of social roles (actions), moral situations and their resolution in passions and actions, analysis of mental movements, destinies and characters in various conflict situations (high - tragic, ordinary - dramatic, low - comic). This determines the specificity of the actor’s “mask”, interactions with the audience, and the measure of spectator participation.

The functions of the theater are: training of social role (action), moral situations and their resolution in passions and actions; analysis of mental movements, destinies and characters in various conflict situations. The specificity of the social role of theater is that it takes on the function of building a beautiful, harmonious, holistic world.

In school theater pedagogy as a form of educational artistic and aesthetic activity, all types of actor-spectator relationships “get along” and coexist. From primitive syncretism - everything for everyone. From the Middle Ages - a moralizing character, a breadth of symbolic and allegorical understanding of reality. From Baroque - functions in the educational process, inclusion in the school curriculum. However, the specificity of school theater pedagogy remains unchanged, which lies in the interchangeability of actor and spectator, in the optionality of acting professionalism and the spectator's position of an observer.

The goal of school theater pedagogy is to model 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 pedagogy at these levels, accordingly building a methodology for theater pedagogical work.

At stage I (junior school age) this method serves to master the syncretic world of fairy tales and is focused on understanding the language of culture and nature. At stage II (middle school age), when the syncretism of worldview is broken in favor of the active development of conceptual thinking, this method works in creating images of culture, historically replacing each other pictures of the world. Finally, stage III (senior school age), when self-awareness procedures are active, theatricalization works to resolve the problem “I and the world.” The necessary ability for self-realization in the “game of life”, which manifests itself in adolescence, must necessarily rely on the developed ability to enter into cultural images, understanding them “from the inside”, in the situation educational game. And in this regard, the theatrical cultural creative game as a method of studying cultural and historical eras as specific images of the world acquires particular relevance in modern schools.

School theater pedagogy is the interaction of actor and spectator; a performance is possible and necessary, moreover, it only exists in this co-creation. The activity of a school theater 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. This 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.

The components of school theater pedagogy are typologically common to the methodology of artistic and aesthetic work with children. However, they are significantly adjusted, clarified structurally and meaningfully depending on the age characteristics of the students.

Theatrical work with children solves their own pedagogical problems, including both the student and the teacher in the process of mastering the model of the world that the school is building.

The work of a school theater can be considered as a universal way of integration.

The first stage of theater training ( junior classes) Connected with theater classes children in lessons and in extracurricular activities.

The second stage (middle classes) - lesson, elective, "theater hour", amateur theater performances; in these forms a combination of interest in professional theater and amateur theatrical creativity is born. At the third stage (senior grades), theater education is based on the interaction of all components of the system: in-depth work in literature lessons, the elective “Fundamentals of Theater Culture,” and finally, school theater studio. So, the inclusion of the art of theater in the educational process of the school is a real development need modern system education, which moves from the episodic presence of theater in school to systemic modeling of its educational function. School theater pedagogy is a form of educational artistic and aesthetic activity, a dynamic, living, self-improving system. Returned to the modern school as a tradition of national culture and education, school theater pedagogy can contribute to the construction of a holistic educational process focused on the formation of students’ personal moral and aesthetic culture. Our life becomes happy not through the accumulation of pleasure and material wealth, but solely through relationships with those who share this life with us. In conditions of freedom and responsibility of the educational space, when there is an outlet for manifested creative potential and children's curiosity, we all have an amazing opportunity - to be happy in this world!

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 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 theatrical figures of the 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 system general education and the “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. The 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 taken on”, 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 of acting art - the 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 the self-education of a creative individual. 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 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 - “creation visible membrane 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” physical actions"(MFD).

3.4. Methods of acting psychotechnics(“training and drill”). Psychological aspects of training and education in performing arts and the integral 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 directors and actors, as a search for ways to the actor’s subconscious creativity 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 “supraconsciousness” (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 exactly the artificial, “cultural” sign is in a key way free goal orientation of action). Methodological approaches to working on a role: “naturalness for super-fantasy” according to Stanislavsky and “artificiality for super-reality” - according to Vakhtangov-Vygotsky.

3.7. Psychological structure 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 biomechanics. Methods of training in biomechanics.

"Aesthetic" school of "synthetic actor". “Method” of the 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. The “free development” method. 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” 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 of 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 idea(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 stage art, 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 a 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 " individual image 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 grounds 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 script and dramaturgical gaming 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 gaming technologies development.

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

General didactic principles of theater pedagogy. General patterns creativity and a unified 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

The synthetic nature of theatrical art is an effective and unique means of artistic and aesthetic education of students, thanks to which children's theater occupies a significant place in the general system of artistic and aesthetic education of children and youth. Preparing school theater productions, as a rule, becomes an act collective creativity Not only young actors, but also vocalists, artists, musicians, lighting designers, organizers and teachers.

The use of theatrical art in the practice of educational work helps to expand the general and artistic horizons of students, general and special crop, enrichment of aesthetic feelings and development of artistic taste.

The founders of theater pedagogy in Russia 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. In fact, the theatrical pedagogical tradition that exists to this day in our universities begins with them. 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.

Noting the crisis of modern theater education, the lack of new theatrical pedagogical leaders and new ideas, and, as a consequence, the lack of qualified teaching staff in children's amateur theater performances, it is worth taking a closer look at the heritage that has been accumulated by the Russian theater school and in particular the school theater. and children's theater pedagogy.

The traditions of school theater in Russia were established at the end of the 17th and beginning of the 18th centuries. IN mid-18th century centuries in the St. Petersburg land gentry corps, for example, even special hours were allocated for “teaching tragedies.” Students of the corps - future officers of the Russian army - acted out plays of domestic and foreign authors. Such outstanding actors and theater teachers of their time as Ivan Dmitrevsky, Alexey Popov, brothers Grigory and Fyodor Volkov studied in the gentry corps.

Theatrical performances were an important part of the academic life of the Smolny Institute of Noble Maidens. Moscow University and Noble University Boarding House. Tsarskoye Selo Lyceum and other elite educational institutions Russia.

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 performed successfully on the amateur stage, but also directed theatrical productions and wrote scenery for performances.

In the last third of the 18th century, children's home theater was born in Russia, the creator of which was the famous Russian educator and talented teacher A.T. Bolotov. He wrote the first plays for children in Russia - “Praise”, “Rewarded Virtue”, “Unfortunate Orphans”.

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 prohibiting 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 and beginning of the 20th centuries, a conscious attitude towards theater as the most important element of moral, artistic and aesthetic education was established in domestic pedagogy. This was largely facilitated by the general philosophical works of leading Russian thinkers, who attached exceptional importance to the problems of the formation of a creative personality and the study of the psychological foundations of creativity. It was during these years that national science(V.M. Solovyov, N.A. Berdyaev, etc.) the idea begins 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 takes a person out of slave forced state in the world, raises it to a new understanding of existence.

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 benefit that can be expected from this power in pedagogy, if we learn to use it properly, can only be compared with those benefits that accompany the newly discovered power of nature in people’s lives.”

Sharing this opinion, N.N. Bakhtin recommended that teachers and parents purposefully develop the “dramatic instinct” in children. He believed that for preschool children raised in a family, the most suitable form of theater is the puppet theater, the comic theater of Parsley, the shadow theater, 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 the free time of a child up to the age of 12. In this game you can prove yourself to be both the author of a play, staging your favorite fairy tales, stories and plots, and a director and an actor, playing for all the characters in your play and a master needleworker.

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

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

The First All-Russian Congress on Public Education, held in St. Petersburg in the winter of 1913-14, paid interested attention to the problem of “theater and children,” at which a number of reports 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 to apply the principle of visualization.”

The issue of children's and school theater was also widely discussed at the First All-Russian Congress of People's Theater Workers held in 1916. The school section of the congress adopted an extensive resolution that touched upon the problems of children's, school theater and theater for children. In particular, it was noted that the dramatic instinct, inherent in the very nature of children and manifested from a very early age, should be used for educational purposes. The section considered it necessary “that in kindergartens, schools, shelters, 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, storytelling, 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. When constructing school buildings, the resolution noted, it is necessary to pay attention to the suitability of the premises for staging performances. The congress spoke about the need to convene an all-Russian congress on the problems of children's theater.

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 largest domestic 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 unemployment 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 the powerful theatrical medium– empathy educational theater unites children and adults at the level of common living together, 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. Professional art aimed at children 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 tasks to serve young audiences. Both the first and second represent a significant scientific and methodological problem. In this regard, there is an urgent need to objectify the accumulated theoretical and empirical knowledge on children's theater pedagogy into a special discipline in the subject “children's theater pedagogy” and introduce this subject into the programs of universities that train directors of amateur theaters.

1. Theater as a subject, which 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 free play nature children's creativity.

Back in the 70s, the theater laboratory of the Scientific Research Institute of Artistic Education developed and substantiated the idea of ​​universal accessibility of primary theater education, which made it possible to talk about the academic subject “theater lesson”.

In subsequent years, programs were developed on action techniques, stage speech, by stage movement, by world artistic culture. Collection created creative tasks for children's theater classes.

1. Theater pedagogy, the purpose of which is to develop expressive behavior skills, is used in professional training and retraining of teachers. Such preparation allows you to significantly change the usual 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 perception of an original artistic phenomenon.

It is worth remembering that the flourishing of democracy in ancient Hellas owes much to the ritual of living together by the residents of the city 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.

In the field of theater education for children, the problem of personnel remains acute. Universities do not train directors and teachers of children's theater education and children's amateur theater. While graduates are somewhat familiar with staging techniques, they are almost not familiar with the pedagogical theatrical process.

This necessitates the creation of specialized secondary educational institutions that train directors and teachers of children's theaters, who must be well aware of the children's specific methods of teaching acting and rehearsing.

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 last years, thanks to the efforts of the staff of the theater laboratory of the Research Institute of Art Education, 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. Thus, through the efforts of the famous psychologist E.B. Shuleshko, innovative teacher L.K. Filyakina, and theater teachers A.P. Ershova and V.M. Bukatov, a new thing arose, or “a well-forgotten old”, which was called “socio-game pedagogy”.

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 theatrical 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 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 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 whom 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 “owner of the house” is not feeling well. 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 the interesting mental activity of children.

The teacher organizer, the instigator of game 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 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 in some way: 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. 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. Peers will understand each other faster. Besides, if they start doing it, they’ll understand!
3. Even if, in your opinion, 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 you are not even aware of. 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 the principle of priority for student initiative.
4. Often a teacher experiences acute negative emotions when faced with children’s refusal to complete a task. He “suffered, created, invented at night” and brought the children a “gift” for which he expects a natural reward - joyful acceptance and embodiment. But they don’t like it, and they don’t want Demyanova Ukha. And immediately there is resentment towards the “refuseniks”, and, in the end, the conclusion is “they don’t need anything at all!..”. This is how two warring camps of students and teachers appear, the excellent striebreichers and the “difficult” ones. 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 your attention to the need for a more thorough assessment of the level of training and interests of students. This will help you find the adequacy of your assignment to the level of need for it. It is at this time that you improve as a teacher, if of course you need it.

1. 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 the principle of action, not ambition.“Today you play Hamlet, and tomorrow you are an extra.”
2. 6. The principle “Do not judge...” Tact is developed in the ability to “judge” the work of another group on the basis of 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 evaluations “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 we see the real results of our activities, the more time and chances we have to change something.

1. Principle 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 appropriating it 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.
2. 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 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 an experimental test that confirms the obviousness of the facts; in theater pedagogy this can be a staging or a sketch, a thought experiment or an analogy. Then there is necessarily a discussion process of proof or justification.

Under stage understands 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 sketch method, as a method for studying a situation or a certain content, involves setting 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, a study-experiment and its analysis. 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 (they, of course, depict or illustrate everything), 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. After all, “from the outside it is more visible,” especially when you have the necessary information!.. Even before perceiving 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 rules;

The performer is how he sees himself and what he has done;

The performer and what he accomplished, as seen by observers;

And the same three positions, but from a different subject.

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

The same can be done while sitting at the table without going to the playground. This method can be conditionally called a mental or imaginary experiment, which in theatrical practice is called “table work”.

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

Of course, it is impossible to reflect all the new trends and ideas in theater pedagogy today in a short article. It was important for me to pay attention to the most, in my opinion, effective modern tendencies, which actualize the problem of preserving the traditions of the Russian theater school and children's theatrical creativity.

Danilov S.S. Essays on the history of Russian dramatic theater. - M.-L., 1948. P.278.

Tebiev B.K. and others. Tula Theater. Historical and art essay. - Tula, 1977. P.16-17.

Pirogov N.I. Selected pedagogical works - M., 1953. P. 96-103

Quote according to the book To help family and school. Pedagogical Academy in essays and monographs. - M., 1911 C 185.

Resolutions of the 1st All-Russian Congress on Issues of Public Education (By sections and commissions) // Bulletin of Education 1914 No. 5 Appendix C 12.

All-Russian Congress of People's Theater Workers in Moscow. Resolutions of the school section of the congress. // School and life. 1916. No. 2. Stb. 59.

Right there. P. 60.

See: Shatsky S.T. Cheerful life. // Pedagogical. essays. In 4 volumes T. 1 - M, 1962. P. 386-390.

1 Of course, this is unacceptable in theater education, where, first of all, the organic process of living a conditional situation is important.