Theater teachers. Introduction to the theory of theater pedagogy

Nekrasova Lyudmila Mikhailovna

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

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

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

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

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

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

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

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

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

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

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

(1891-1955) - Russian and American actor, theater teacher, director. Mikhail Chekhov was the nephew of Anton Pavlovich Chekhov on his father, who was Anton Pavlovich's older brother. In 1907, Mikhail Chekhov entered the Theater School named after A.S. Suvorin at the theater of the Literary and Artistic Society and soon began to successfully perform in school plays. In 1912, Stanislavsky himself invited Chekhov to the Moscow Art Theater. In 1928, not accepting all the revolutionary changes, Mikhail Alexandrovich left Russia and went to Germany. In 1939, he moved to the USA, where he created his own acting school, which was extremely popular. Marilyn Monroe, Clint Eastwood and many other famous 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 who studied with Chekhov performed a large number of special exercises and sketches, which made it possible to understand what the atmosphere was, according to Mikhail Alexandrovich. And the atmosphere, as Chekhov understood it, is a “bridge” from life to art, the main task of which is to create various transformations of the external plot and the necessary subtext of the events of the play.

Mikhail Chekhov put forward his own understanding of the actor’s stage image, which was not part of 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 the spirit of their creative principles, which are quite similar, 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.

The technique of alienation turned out to be a particularly original way of looking at acting, which completes 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.

The Russian school is experiencing one of the most dramatic stages in its history today. Structures destroyed totalitarian state, and with them a well-functioning education management system. 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 society’s need for a cultural personality, capable of freely and responsibly choosing their place in this contradictory, conflict-ridden, dynamically changing world, is becoming more and more clearly recognized in the philosophical and cultural literature. 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-creative” 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 - a 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, free development personality"2. This provision argues for the personal orientation 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: teaching live conversational speech; acquisition of a certain freedom of circulation; "learning to speak before society as speakers and preachers." A.N. Radishchev called the 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 it 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, the way to yourself.

Theory K.S. Stanislavsky is a means of development creative inclinations and the teenager’s abilities both in the field of perception and appreciation of works of art, and in his own creativity. It develops active attention, observation, and the ability to fantasize. Particularly great opportunities lie 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, searches take place 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 a form of educational activity 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 inherent in theater as an art form and goes through the path of historical formation from the syncretic forms of primitiveness and the Ancient world to the functional certainty of the educational school theater of the late Middle Ages, to independent existence in the educational systems of modern times.

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 entirety 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 the educational and civic function ancient theater; from the functional identification 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 to the theoretical understanding of school theater pedagogy as a pedagogical problem in the late 19th and early 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 a pedagogical problem itself, relevant in education focused on the preservation and reproduction of the cultural experience of generations.

The functions of theater are emphasized differently in artistic eras - training social role(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 of an 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 decides pedagogical tasks, 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 education (junior grades) is associated with children’s theatrical activities in the classroom 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 theater is born theatrical creativity. At the third stage (senior grades), theater education is built on the interaction of all components of the system: in-depth work in literature lessons, the elective “Fundamentals of Theater Culture,” and finally, the school theater studio. So, the inclusion of the art of theater in the educational process of school is a real need for the development of a modern education system, which moves from the episodic presence of theater in school to systematic modeling of its educational function. 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 national culture and education, school theater pedagogy can contribute to the construction of a holistic educational process focused on the development 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!

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 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 modern psychology and art pedagogy, which implements 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 at MIOO (this is one of the few institutes where various existing areas of theater pedagogy are systematized at the methodological level), explains why traditional ideas about teaching as the transfer of knowledge, skills and abilities in the modern world are not are working.

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- a distinctive feature of theater pedagogy. A good actor must act before he can think. Spontaneity, spontaneity - qualities that allow you to reveal the potential of a child, but which are often “muffled” by 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 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 theatrical 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 of 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 a “magic wand” that will solve all problems with one wave: 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 artistic image can transform the school routine into a space of intellectual and emotional discovery.

The synthetic nature of theatrical art is effective and unique means artistic and aesthetic education of students, thanks to which children's theater occupies a significant place in the overall 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 culture, enriching aesthetic feelings and developing 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 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.

Theater productions were important integral part academic life of the Smolny Institute 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, 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 debate 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 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 brought up in a family, the most suitable form of theater is the puppet theater”, the comic theater of Petrushka, ‘ shadow theater, puppet theater. On the stage of such a theater it is possible to stage various plays of fairy-tale, historical, ethnographic and everyday content. Playing in such a theater can usefully fill the free time of a child up to the age of 12. In this game you can prove yourself at the same time as the author of a play, dramatizing your favorite fairy tales, stories and plots, and as a director and actor, playing for everyone characters of his play and a master needleworker.

From puppet theater, children can gradually 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.

Introduction to pedagogical publications late XIX- the beginning of the 20th century, statements by teachers and children's theater workers indicate that the importance of theatrical art as a means of educating children and youth was highly appreciated by the country's pedagogical community.

The First All-Russian Congress on Public Education, held in St. Petersburg in the winter of 1913-14, paid interested attention to the problem of “theater and children”, at which a number of reports were heard on this issue. The resolution of the congress noted that “the educational influence of children’s theater is felt in full force only with its deliberate, expedient production, adapted to children’s development, worldview and 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 the 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, telling fairy tales, the organization of historical and ethnographic processions and celebrations, staging children's plays and operas.” . Taking into account the serious educational, ethical and aesthetic significance of the school theater, the congress recommended the inclusion of children's parties and performances in the school's program of activities, and the initiation of petitions to the relevant departments for the allocation of special funds for the organization of school performances and holidays. 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 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 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 educational process 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 children lies in the harmonious dosage of technical skills in the teaching 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. 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 playful nature, is a powerful means of education precisely through living the spiritual cultural models of humanity.

In this regard, it should be noted that in recent years, thanks to the efforts of the staff of the theater laboratory of the Research Institute 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 change in society has prompted many educators to search for a new level of democratization and humanization 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 every historical time presupposes its own level of democracy, the process of harmony between people and a new understanding of the role of the leader and, in particular, the teacher. Each sovereign 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 the “do as I do” mode, but it presupposes a more wide scope manifestations of student independence and, above all, his right to make mistakes. It is important to establish equality between student and teacher. A teacher who has or allows himself the right to make a mistake, thereby removes the fear of the independent action of a student who is afraid of making a mistake or “hurting himself.” After all, the teacher is constantly tempted to demonstrate his skill, correctness and infallibility. In this sense, in every lesson he trains himself more, honing his skills and demonstrating them with greater “brilliance” in front of “illiterate and completely inept children.” For such a teacher, a mistake is equal to a loss of authority. Authoritarian pedagogy and any authoritarian system rest on the infallibility of the leader and the fear of losing it.

For theater pedagogy, first of all, it is important to change this position of the teacher, i.e. remove the fear of error from him and his students.

The first stage of mastering theater pedagogy in its dominant pursuit is precisely this chain - to give the opportunity to “be in the shoes” of the student and see from the inside what is happening to those 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.

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

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

It is important to develop a range of control over your behavior in communication. Master acting and teaching skills, master a variety of techniques of influence. It is necessary to own your bodily mobilization and be an example of business determination. Exude a joyful feeling of well-being, despite mistakes and failures. We strive to neutralize any positional conflicts that arise in educational work with our businesslike approach, without entering into altercations. Be able to manage the initiative, regulating the tension of forces and the distribution of work functions of the participants in the process. To do this, make full use of the levers of perseverance 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 needed are businesslike, the most urgent, giving the initial setting for joint activities and children's communication with each other. It is necessary to give the opportunity to clarify with peers a really unclear question. This does not mean writing off what our children have long been accustomed to, it means legalizing mutual assistance. Such clarification is more useful for both than repeated explanations from the teacher. 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 complementarity and permanent shift role functions, work effectively and constantly hone all the techniques and skills to create a common harmony in teamwork. 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 immerses them in 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. 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 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 sphere of independent creative and mental activity is expanding, which creates comfortable and, importantly, natural conditions for the process of learning and communication. The techniques of theater pedagogy solve not only the special educational problems of theater education, but also allow them to be successfully applied in solving general educational problems.

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.