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

The Republic of Guatemala is one of many countries located in South America. Here, sea coasts and amazing beaches are combined with dense forests and endless volcanoes. And the local mountains still protect the Mayan architectural heritage. Guatemala is a picturesque country where an ancient civilization once lived. Where is Guatemala located on the world map and what to see in the country, we will consider further.

Geography of Guatemala

This unique state in Latin America is located on the world map. It borders on Mexico in the west and north, Belize in the northeast, and El Salvador and Honduras in the southeast. The southwest of Guatemala is washed by the unpredictable Pacific Ocean, and in the east by the beautiful Caribbean Sea. According to Wikipedia, the country's area is 108,890 square kilometers, and state border has a geographical length of 1687 km.

Capital

Guatemala City is the capital of the republic is the largest urban agglomeration in Central America. The capital is located on a picturesque plateau and stretches along mountain ranges. Guatemala City is a typical Latin American city. Here, chaotic markets line endless small streets and colorful buses transport the population. All this color emphasizes the majestic and unique Mayan buildings.

The first capital of Guatemala was Antigua, but as a result of an earthquake (1777) it was almost completely destroyed. Despite this, Antigua is the main city that bears the heritage of ancient civilization.

Climate

The climate in the republic is quite mild. But the weather here directly depends on the position of the heights above sea level. Therefore, the temperature in different areas is not the same.

Here it is customary to separate two seasons:

• winter – from May to October;
• summer – from November to April.

Each season manifests itself in measuring precipitation and nighttime temperature. April, May, February, March are considered the sunniest and hottest months of the year. The greatest amount of precipitation occurs from May to October.

The Pacific coast of the republic is characterized by a sultry tropical climate. The daytime temperature in May - June here is 32 degrees, at night - 23 degrees. In December, daytime temperatures can reach 27 degrees.

Coast Caribbean Sea has more stable temperatures throughout the year. Thus, the daytime temperature is within 31–33 degrees, and at night – 23 degrees. Even during prolonged rains, these indicators remain at the same level. It is on this coast Guatemala experiences the highest rainfall.

The best period to visit the country is from November to May, which is characterized by a dry period.

Nature

A large part of the state is located on the high and low mountain ranges of the Cordillera. It is two such ridges that cross the republic - the Sierra Madre and Cuchumatenes. There are 33 volcanoes throughout this territory. Three of them are active and reach a height of 3900 meters. The highest peak in Guatemala is the Tajumulco volcano, whose height is 4212 meters.

The south and west of the Republic of Guatemala is influenced by the Pacific Ocean, so this part of the country is located in a flat plain. It is here that many rivers that flow from the mountains are concentrated the purest water. And also due to the special structure of the ocean floor, earthquakes occur very often in the country. Most of the citizens live in areas between the mountains, namely the ridges. Most large lakes Guatemala:

• Izabal is a lake in the east of the country;
• Atitlan is a closed lake in the southeast;
• Peten Itza is a lake in the northern part;
• Amatitlan is a freshwater lake located near the capital.

Guatemala: population and political structure

In accordance with the current Constitution of 1985, in Guatemala the form of government is a presidential republic, in which the president is the head of state and head of government.

The country's parliament is represented by one chamber– The Congress of the Republic and consists of 158 deputies elected for 4 years. Main political parties:

• Democratic freedom;
• Patriotic Freedom;
• Union of Nationalist Changes;
• National Alliance of Hope.

Until 1524, Europeans did not know where this republic was located. In those days, Guatemala was not a whole state. Individual Indian tribes lived in its territories. After the discovery of South America by Columbus, the Spaniards came here and began colonizing the lands.

The local population was conquered, but not completely exterminated. Unlike other colonial states, few black slaves were imported here. Guatemala, as an independent country, appeared on the world map only in 1821.

For today most of The population consists of non-indigenous peoples; indigenous people are represented by small nationalities. So, the descendants of the Mayans live here, Quiché, Kekchi, Kaqchikel and others. The rest of the population are descendants of mixed marriages between Spaniards and blacks or Indians.

In the country official language is Spanish. If we talk about religion, the majority of residents are Catholics (50–60%), Protestants (40%), Orthodox Christians (3%).

You should visit Guatemala in order to see with your own eyes how perfectly modern life can be combined with the centuries-old history of ancient tribes. This amazing place in Latin America is filled with unique ancient buildings.

The most picturesque places and main attractions of Guatemala:

Guatemala

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 in understanding 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 that find a source of educational tools in the theater are combined into 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 the artistic environment has a powerful stimulating effect on children. Among them is Sergei Kazarnovsky’s Class Center, one of the first institutions of this format where theater becomes an integral part of 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 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 synthetic nature of theatrical art is an effective and unique means of artistic aesthetic education students, thanks to which children's theater occupies a significant place in the overall system of artistic and aesthetic education of children and youth. Preparation of school theatrical productions, as a rule, becomes an act of collective creativity not only of young actors, but also of vocalists, artists, musicians, lighting technicians, organizers and teachers.

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

The founders of theater pedagogy in Russia were such prominent theater figures as Shchepkin, Davydov, Varlamov, and director Lensky. Qualitatively new stage in theatrical pedagogy he brought with him the Moscow Art Theater and, above all, its founders Stanislavsky and Nemirovich - Danchenko. 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 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.

Traditions school theater in Russia were founded at the end of the 17th - beginning of the 18th century. 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 by 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.

Theater productions were important integral part 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, the future writer not only successfully performed on the amateur stage, but also directed theatrical productions and wrote scenery for performances.

IN last third In the 18th century, a 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 - beginning of the 20th centuries, a conscious attitude towards theater as the most important element moral, artistic and aesthetic education. This was largely facilitated by the general philosophical works of leading Russian thinkers, who attached exceptional importance to the problems of the formation of a creative personality and the study of the psychological foundations of creativity. It was during these years that in Russian science (V.M. Solovyov, N.A. Berdyaev, etc.) the idea began to be established that creativity in its various expressions constitutes a moral duty, the purpose of man on earth, is his task and mission, that it is the creative act that pulls a person out of a slavish, forced state in the world, and raises him to a new understanding of being.

Research by psychologists who stated that children have the so-called "dramatic instinct" “The dramatic instinct, which is revealed, judging by numerous statistical studies, in children’s extraordinary love for theater and cinema and their passion for independently playing all kinds of roles,” wrote the famous American scientist Stanley Hall, “is for us teachers a direct discovery of a new force in human nature ; the 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 children preschool age 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 develop a passion for dramatic theater. With skillful guidance from adults, children's love of dramatic play can be used to great advantage in their development.

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 Figures, held in 1916. folk theater. The school section of the congress adopted an extensive resolution that touched upon the problems of children's, school theater and theater for children. In particular, it was noted that the dramatic instinct, inherent in the very nature of children and manifested from a very early age, should be used for educational purposes. The section considered it necessary “that in kindergartens, schools, orphanages, school premises in children’s departments of libraries, people’s houses, educational and cooperative organizations, etc., an appropriate place should be allocated different forms manifestations of this instinct, according to the age and development of children, namely: the organization of games of a dramatic nature, puppet and shadow shows, pantomimes, as well as round dances and other group movements of rhythmic gymnastics, dramatization of songs, charades, proverbs, fables, telling fairy tales, the organization of historical and ethnographic processions and festivals, productions of 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.

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

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

Interesting and instructive is the experience of educating pedagogically neglected children and adolescents using theatrical art, gained by the 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 the criminalization of the youth environment is active spiritual work that meets the interests of this age. And here, the school theater, armed with the techniques of theatrical pedagogy, becomes the club space where a unique educational situation develops. Through a powerful theatrical tool - empathy, educational theater unites children and adults at the level of common cohabitation, which becomes an effective means of influencing the educational and educational process. Such an educational theater club has a particularly important influence on “children from the street,” offering them informal, frank and serious communication on topical social and moral issues, thereby creating a protective, socially healthy cultural environment.

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

1. Addressed to children professional art with its inherent general cultural values. In this direction of aesthetic education, the problem of the formation and development of the spectator culture of schoolchildren is solved.
2. Children's amateur theater, existing inside or outside the school, which has unique stages in the artistic and pedagogical development of children.

Amateur school theater is one of the forms of additional education. School theater directors create original programs and set 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 on the subject of “children's theater pedagogy” and introduce this subject into the programs of universities training amateur theater directors.

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 the free playful nature of 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. A collection of creative tasks for children's theater classes has been created.

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

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 specialized 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 recent years, thanks to the efforts of the staff of the theater laboratory of the Scientific 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.

The urgent need for social changes in society has prompted many teachers to search for a new level of democratization and humanization of the pedagogical process. 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 a base of practical exercises from theater pedagogy based on the method of K. S. Stanislavsky and the “theory of action” of P. M. Ershov, the socio-game style allows to understand in a new way, 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, the children themselves organize such a search creative activity They cannot and are grateful to the person who organized a holiday of research and communication for them.

But the holiday will not take place if the “master of the house” is feeling unwell. Equality between the teacher and children not only in the right to make mistakes, but also in adequate interest. An adult should also be interested in the game; he is the most active fan of the success of the game. But his role in it is organizational; he has no time to “play around.” The organizer of the holiday is always in trouble about “products”, “fuel” for 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 the teacher experiences acute negative emotions when faced with children’s refusal to complete the task. He “suffered, created, invented at night” and brought the children a “gift” for which he expects a natural reward - joyful acceptance and embodiment. But they don’t like it, and they don’t want Demyanova Ukha. And immediately there is resentment towards the “refuseniks”, and, in the end, the conclusion is “they don’t need anything at all!..”. This is how two warring camps of students and teachers appear, 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 complementarity and permanent shift role functions, work effectively and are constantly honing 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 clashing ambitions in teamwork and more constructively keep track of the material mastered.

By periodically giving the role of “judge” to students, the teacher expands the scope of their independence and receives an objective assessment of their activities: what their students have learned in reality, and not according to his ideas. In this case, the phrases “I told them a hundred times!..” will not save you. The sooner 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 Often this question is asked by the teacher and addressed to the student. But it is important that the student himself acquires the ability to generate such questions. In search of an answer to the question about new knowledge, the subject develops or lives the path to the generation of knowledge.

In this sense, the problem situation is the primary and one of the central concepts of theater pedagogy and, in particular, the socio-game style of teaching.

Problem-based learning is a teacher-organized way of student interaction with the problematically presented content of the subject of study. Knowledge obtained in this way is experienced as a subjective discovery, understanding as a personal value. This allows you to develop the student’s cognitive motivation and interest in the subject.

In teaching, by creating a problem situation, the conditions for research activity and the development of creative thinking are modeled. A means of controlling the thinking process in problem-based learning are problematic questions that indicate the essence of the educational problem and the area of ​​search for unknown knowledge. Problem-based learning is implemented both in the content of the subject of study and in the process of its development. The content is realized by developing a system of problems that reflect the main content of the subject.

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

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

The students, having played out the study-experiment, practically visited the situation under study and tested, using their life-game experience, assumptions and options for behavior and solutions to problems in a similar situation. Moreover, educational and cognitive sketches can be constructed either completely recreating the necessary situation, or similar situations, similar in essence, but different in form, which can be more close and familiar to students. The etude method, as a method for studying a situation or a certain content, involves 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 we perceive an object, we are full of meanings about it because we have life experience. These “views from different sides,” let us again remember our favorite parable about the blind men and the elephant, allow the participants in such work to be enriched from each other with new parts of the truth through objective-reflexive relationships, striving for its integrity. Reflection in this case is understood as a mutual reflection of subjects and their activities in at least six positions:

The rules of the game themselves, as they are in this material, are control 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.

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

SECTION III

THEATER PEDAGOGY IN THE GENERAL EDUCATION SYSTEM AND DIFFERENTIATION PROCESSES

Topic 1. History of the formation of “theater” education in Russia (second half of the 17th - first half of the 18th centuries). The model of state (state) education is “court” education “by decree of the sovereign.” The first Russian school of “amusing business” (Gregory – Chizhinsky – Kunst). Socio-psychological features of the occurrence theatrical culture in the context of national transformations along the lines of “tradition – culture – innovation” (“forced” 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 general education system and “syncretism” of theater education in Russia in the 19th century.

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

3.3.2. Reform of theater schools. 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 - a practical justification for the need for the scientific method: work, 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 acting art - the correlation of sensitivity with self-control as a condition for great performance, expressing the mental state and action of the stage image.

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

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

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

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

3.2. Six “main processes” of acting: 1) preparatory process of will (“intention”); 2) search process 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 one’s dreams internal and external image the person depicted" (imagination); 4) the process of embodiment - “creating a visible shell for your invisible dream”; 5) the process of merging - combining together the processes of “experience” and “embodiment”; 6) the process of influence - communication “of the poet with the viewer through the figurative creativity of the artist.”

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

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

3.4. Methods of acting psychotechnics(“training and drill”). Psychological aspects 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, connected to each other by direct and feedback. 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 “superconsciousness” (M.G. Yaroshevsky). Stanislavsky’s concept of “super-super task”, denoting the personal-motivational sphere of the actor (“dominant need” according to Simonov), as the main factor in the realization of natural abilities and creative self-actualization (A. Maslow).

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

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

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

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

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

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

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

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

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

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

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

Topic 2. The problem of classifying “studio movement”. Experimental and laboratory studios – “theater construction” (Meyerhold). Studio-schools of human education (Vakhtangov). Art and theater studios (Chekhov). Journalistic direction of tone-plastic studios (professional and educational tasks of Proletkult). Artistic studios (Stanislavsky's studio experience in the Bolshoi Theater opera studio 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 (really creative basis 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. The director (from the Latin regio - I manage) is an “artist” who, based on his own creative concept (interpretation of the work), creates a new stage reality.

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

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

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

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

Topic 2. Directing as practical psychology– unification of all areas of psychological knowledge aimed at 1) assistance in the implementation of creative development and 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 acting: “actor-puppet”, “actor-person”, “artist-role”, “human-instrument”, “theme actor”, “reincarnation actor”, etc. in the context of the problem of “acting or personality” (lyricism, confessionality, intellectuality, etc.). Cultural and historical conditioning of the “acting type” (“emotional”, “intellectual”, “social”, etc.). Psychological characteristics of the “individual image of an actor” in the “subconscious unifying stream of creativity” (P. Markov).

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

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

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

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

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

Theatricalization as a form of expression of scenario-dramatic game models. Subjective development principle 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. Identification mechanisms (identification-alienation) appropriation 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 unity 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 at basic basis 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