How theater pedagogy helps at school. Introduction to the theory of theater pedagogy

Possibilities of theater pedagogy in the context of new educational standards

(in general and additional education)

Kosinets E.I., teacher and director

Klimova T.A ., psychologist

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

MIEO researchers

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

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

Theatrical pedagogy is part of the pedagogy of art. There are two main trends in understanding this phenomenon: narrow - this is pedagogy, which is implemented in art lessons (Fine art, music, MHK, theater, etc.) and more broad - pedagogy, which is based on holistic-figurative thinking and practices of living the content of education in any subject areas. In this collection, we will focus on the pedagogy of art in its second meaning (although some of the practices that we will talk about were initially formed in art lessons and only then could become relevant for any educational content).

Art Pedagogy implemented through the creation open creative educational environment . In the artistic and creative educational environment there is something that initiates the movement towards the Image: it is always questioning and problematizing environment . The role of the teacher, who initiates the environment, is here to expose, to the utmost sharpen and actualize questions for all participants in coexistence. At the same time, the teacher cannot think of himself as the bearer of the true answer, because each time he seeks a living understanding anew. It is this environment that initiates an endless chain of questions, and thus the process of continuing education .

What initiates the emerging person (child, student) to enter into a dialogue with the inquiring artistic and creative educational environment? Perhaps the most acute problems of the modern world, in which it is difficult for a person to identify himself as a HUMAN. Science and technology only interfere, they fix its applied functions, and the pedagogy of art helps a single Human to see himself in the mirror of Humanity. The main topic of dialogue in the artistic and creative educational environment can be any problem: scientific, creative, religious. But the main goal will always be the formation of the image of the world and the "image of I" in this world. The ideals of different epochs highlight consonance within the personality. The “I” looks into the mirror of cultural epochs and discovers points of conjugation and dialogue.

The place of theater pedagogy in

structure of modern pedagogical approaches

Operating environment:

Art Pedagogy:

Theater Pedagogy:

The peculiarity of the method of cognition in theatrical pedagogy

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

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

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

Many years of experience in the work of children's theater groups, as well as an experiment specially conducted within the framework of the GEP "Modernization of art and aesthetic education in the conditions of experimental activity" experiment on the creation of profile classes of art and aesthetic orientation, have shown that graduates of theater classes and studios have the skills of self-organization and clearly define the circle their future professional interests. They receive experience of personal responsibility for a common cause, learn to set immediate goals and objectives (including creative ones), plan their activities, exercise current control, analyze the results obtained, correlating them with the initial tasks, set new goals and objectives arising from this analysis. In addition, the experience of theatrical work forms the ability to express one's thoughts and feelings in one form or another. Students receive teamwork experience in which the individuality of each is inscribed in the canvas of a common creative work that gives a visible, socially significant result. In the process of this work, students gain experience in solving both organizational, technical, and creative, artistic tasks, which will be useful to them in the future in any field of activity. Moreover, they develop the habit non-standard creative approach to solve any problem.

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

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

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

He recognized the pedagogical benefits of home and school productions and A.N. Ostrovsky. Gymnasium performances in dead languages ​​are given "not for the development of acting abilities in young artists", since in such productions "stage art is not a goal, but a means, and the goal is pedagogical: classical languages, classical literature." 5

Under the influence of the idea of ​​the pedagogical benefits of theater classes with children, several areas of work have grown, and to this day, several areas of work are developing, for example, artistic and pedagogical drama of the lesson L.M. Predtechenskaya and many others. All of them, one way or another, are aimed at introducing theatrical methods and techniques, the principles of constructing a performance into the fabric of educational activity, into the structure of the lesson.

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

Further, in terms of depth and scale of scientific work, one should name the concept "Open directorial and pedagogical action" , developed by professor, honored worker of culture of the RSFSR, head. Department of Directing and Mastery of the Actor of the Perm State Institute of Culture V.A. Ilyev.

The third concept, which has in its arsenal scientific developments, methodological support, experimental practice, implementation and publication experience - "Direction and Pedagogy of the Root" . This is a concept developed by the students of the director, Ph.D. I. Polyakova.

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

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

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

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

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

As a separate direction, one can single out the concept of organizing the author's Moscow school No. 686 "Class Center" created by S.Z. Kazarnovsky. This is a concept based on the deep integration of education and the arts, in particular the institute of a comprehensive school and the institute of theater. Let's call it for convenience "School - Theater" . To one degree or another, with all the differences and nuances, Moscow schools can be attributed to schools that implement such a concept. school number 1060 (author and first director - A.A. Pinsky, now director - M.I. Sluch), "School of Self-Determination" No. 734 (author and first director - A.N. Tubelsky), TsO No. 109 (author and director E.A. Yamburg), gymnasium No. 1543 (author and director Yu.V.Zavelsky). Obviously, this direction has much in common with the concept « Theatrical Pedagogy as a Means of Creating a Developing Educational Environment” , developed by a team of employees of gymnasium No. 205 "Theatre", Yekaterinburg.

The concept-reflection, consonant with the ideas of the above centers, is also based on the ideas of integration, clearly expressed in the work of the author's Moscow Center for Children's Creativity "Theater on the embankment" created by F.V. Sukhov. In this approach, the art of theater philosophically and methodically comes first in the pair, and education comes second. So let's call this direction "Theatre - School" . And here, too, we can talk about the conditional attribution to this direction of a number of structures in which teachers work, who are quite familiar with the author's methods of F.V. Sukhov, or intuitively moving in similar directions. Of the Moscow organizations, we venture to name "Children's mobile theater Soffit" (head - N.M. Logvinova), from Russian - a children's theater studio "Paraphrase" Glazov (head - D.Kh.Salimzyanov), Children's School of Theater Arts. A. Kalyagin Vyatskiye Polyany (heads - S. and N. Suvorov), theater "Dialogue & Dominant" Gubakha (head - L.F. Zaitseva), theater "Bird" Izhevsk (head - S.G. Shanskaya).

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

Russian specialists have always kept in touch with foreign leaders of children's theatrical and pedagogical movements. This cooperation developed within the framework of the international amateur theater associations (AITA) and theaters for children and youth (ASSITEJ). And in the 80s, the laboratory of the theater of the Institute of Art Education of the Russian Academy of Education, within the framework of which scientific research was carried out, began to cooperate with the international world association "Drum Education" ("Drameducation»).

A distinctive feature of this direction in Russia (socio-playing style) was that the games in the lesson are “... these are not separate“ plug-in 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 facilitate the work itself for the children, but to allow them, having become interested, to voluntarily and deeply be drawn into it.

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

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

It follows logically from the principle of integrity grain principle, i.e. in the very first and simple exercise, the whole System, all its elements and laws, are laid down like in a grain, and further exercises are their development. Thus, training is the study of a living integral system in development. From a simple but integral living thing to a complex integral living thing. And the development is endless. The transfer of this principle to the educational system allows solving the problem of the mosaic picture of the world that a child develops in the process of learning, its isolation from real life, maintaining the integrity of the worldview at each stage of its development. It is already possible to see how the application of these principles affects the attitude of children to learning, enhances motivation, and contributes to the formation of a holistic, balanced personality.

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

Theatrical pedagogy at school is also characterized by the principles of productive action, productive partnership communication, event-driven expressiveness of the educational process, the principle of game improvisation, the principle of meaningful diversity of mise-en-scenes of educational activities, the principle of the primacy of non-verbal expressive means, the principle of changing the role positions of the student and teacher, the principle of delegating significant roles of educational process (a carrier of information, a carrier of ideas, refereeing, etc.) to the student team and many others, which it is not possible to name and disclose within the framework of this article.

In the articles below, one can see how the application of theatrical pedagogy methods allows solving the problems of achieving subject results not only in the field of theatrical profile, where specific professional competencies are formed, but also in any other subject area of ​​general or additional education.

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

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

However, the festival is an event that takes place once a year. To organize a permanent space for the exchange of experience, creative presentation, discussion of common issues and solving common problems that arise in the process of theatrical pedagogy, the laboratory of interactive technologies of the Department of Aesthetic Education and Cultural Studies of MIOO, with the support of the Moscow City Department of Education and the Teacher's Newspaper, created the club "Children-Theater- Education".

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

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

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

school theater,

Schools with theater classes,

Schools with theatrical atmosphere,

Center for Children's Creativity - Theater,

Theater Arts School,

Children's spectator clubs at professional theaters,

Integration of subjects of the humanitarian cycle and the educational field "art" on the basis of theatrical work and theatrical and pedagogical methods,

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

Spot application of theatrical pedagogy methods at various lessons of the general education cycle in primary, secondary and senior levels.

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

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

On this page you will learn about the most famous acting teachers and great theatrical figures who created the leading acting schools. Among them are such representatives of stage art as Stanislavsky, Meyerhold, Chekhov, Nemirovich-Danchenko and Berhold Brecht. All these people have made a significant contribution to theatrical art. And, therefore, if you see yourself as a novice actor, this article will be useful to you.

(1863 - 1938), famous Russian actor and director, who is the founder of the most famous actor training system. Stanislavsky was born in Moscow, in a large family of a well-known industrialist, who was related to Mamontov and the Tretyakov brothers. He began his stage activity in 1877 in the Alekseevsky circle. The novice actor Stanislavsky preferred characters with a bright character, giving the opportunity for reincarnation: among his favorite roles, he called the student Megrio from the vaudeville "The Secret of the Woman" and the barber Laverger from "Love Potion". Treating his passion for the stage with his inherent thoroughness, Stanislavsky diligently practiced 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.

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

Firstly, the actor must work on himself by doing daily training. After all, the work of an actor on stage is a psychophysical process in which external and internal artistic data participate: imagination, attention, ability to communicate, a sense of truth, emotional memory, a 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 ends with the organic fusion of the actor with the role, reincarnation 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 the name Karl-Kazimir-Theodor Meyergold to Vsevolod Meyerhold. Passionately carried away by the theater in his youth, Vsevolod Meyerhold successfully passed the exams in 1896 and was accepted immediately 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 (MKhT). In 1906-1907 he was the chief director of the Komissarzhevskaya Theater on Ofitserskaya, and in 1908-1917 - in the St. Petersburg Imperial Theaters. After 1917, he led the Theater October movement, putting forward a program for a complete reassessment of aesthetic values ​​and the political activation of the theater.

Meyerhold's system: "Biomechanics". Vsevolod Meyerhold developed the symbolic concept of "conditional theatre". He affirmed the principles of "theatrical traditionalism", sought to return the theater to brightness and festivity, as opposed to the realism of Stanislavsky. The biomechanics developed by him is a system of acting training that allows you to move from external to internal reincarnation. How the actor will be perceived by the audience depends on exactly the movement found and the correct intonation. Often this system is opposed to the views of Stanislavsky.

Meyerhold was engaged in research in the field of Italian folk theater, where the expressiveness of body movement, posture and gestures play an important role in creating a performance. These studies convinced him that an intuitive approach to the role should be preceded by its preliminary coverage, consisting of three stages (this is called the "playing link"):

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

In modern theater, biomechanics is one of the integral elements of the actor's training. In our lessons, biomechanics is considered as an addition to the Stanislavsky 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 Anton Pavlovich Chekhov's paternal nephew, who was Anton Pavlovich's older brother. In 1907, Mikhail Chekhov entered the A.S. Suvorin at the theater of the Literary and Artistic Society and soon began to successfully perform in school performances. In 1912 Stanislavsky himself invited Chekhov to the Moscow Art Theatre. In 1928, not accepting all the revolutionary changes, Mikhail Alexandrovich left Russia and went to Germany. In 1939, he moved to the United States, where he created his own acting school, which was very popular. Marilyn Monroe, Clint Eastwood and many other famous Hollywood actors passed through it. Mikhail Chekhov occasionally acted in films, including Hitchcock's Bewitched, for which he was nominated for an Oscar in the Best Supporting Actor nomination.

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

In addition, Chekhov pointed to the diverse activators 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 film set as a means to create a full-fledged image of the entire performance, and as a technique for creating a role. The actors trained by Chekhov performed a large number of special exercises and sketches, which made it possible to understand what the atmosphere is, according to Mikhail Aleksandrovich. 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 performance's events.

Mikhail Chekhov put forward his own understanding of the stage image of the actor, which is not included in Stanislavsky's system. One of the essential concepts of Chekhov's rehearsal technique was the "theory of imitation". It consists in the fact that the actor must first create his image exclusively in the imagination, and then try to imitate his 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 the given moment. If it can be evaluated by me objectively. Everything that is still in the sphere of egoism is unsuitable 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 completed. Already at the university, Nemirovich-Danchenko began to publish as a theater critic. In 1881, his first play, Rosehip, was written and staged by the Maly Theater a year later. And since 1891, Nemirovich-Danchenko has 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 impact 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 were brought up. Among the features of Vladimir Ivanovich, one can single out the concept he developed about the system of "three perceptions": social, psychological and theatrical. Each of the types of perception should be important for the actor, and their synthesis is the basis of theatrical skill. The Nemirovich-Danchenko approach helps the actors create vivid socially saturated images that correspond to the most important task 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. Brecht's first literary experiments date back to 1913; from the end of 1914, his poems appeared regularly in the local press, and then stories, essays, and theater reviews. In the early 1920s, in Munich, Brecht also 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 the "epic theater", put into practice by Brecht the director, opened up new possibilities for performing arts and had a significant impact on the development of the theater of the 20th century. Already in the 1950s, Brecht's plays were firmly established in the European theatrical repertoire, and his ideas were accepted in one form or another by many contemporary playwrights.

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

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

Alienation Technique has proven to be a particularly original take on acting that 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 considered it even harmful: identification with the image inevitably turns the actor either into a simple mouthpiece of the character, or into his advocate. And sometimes in the plays of Brecht himself, conflicts arose not so much between the characters, but between the author and his characters.

School theater pedagogy is an interdisciplinary direction, the emergence of which is due to a number of sociocultural and educational factors.

The dynamics of socio-economic changes, the development of the processes of democratization of public consciousness and practice give rise to the need for an individual capable of adequate cultural self-identification, free choice of one's own position, active self-realization and cultural-creative activity. It is at school that the formation of personal self-awareness takes place, a culture of feelings is formed, the ability to communicate, mastery of one's own body, voice, plastic expressiveness of movements, a sense of proportion and taste necessary for a person to succeed in any field of activity is brought up. Theatrical and aesthetic activity, organically included in the educational process, is a universal means of developing a person's personal abilities.

The processes of modernization of the national education system take into account the relevance of the transition from an extensive method of simply increasing the amount of information included in educational programs to the search for intensive approaches to its organization.

Apparently, we are talking about the formation of a new pedagogical paradigm, new thinking and creativity in the educational sphere. A school of a "culture-creating" type is born, building a single and integral educational process as a child's path to culture.

The basic principles of culture-creative pedagogy coincide with the principles of theatrical pedagogy, as one of the most creative in nature. After all, the goal of theatrical pedagogy is the emancipation of the psychophysical apparatus of the student-actor. Theater teachers build a system of relationships in such a way as to organize the maximum conditions for creating an extremely free emotional contact, relaxedness, mutual trust and a creative atmosphere.

In theatrical pedagogy, there are general patterns of the process of teaching a creative personality, which can be purposefully and productively used in order to educate a creative personality of both students and future school teachers.

What does the term "school theater pedagogy" include? Being part of theatrical pedagogy and existing according to its laws, it pursues other goals. If the goal of theater pedagogy is the professional training of actors and directors, then school theater pedagogy speaks of educating the personality of a pupil and student by means of theatrical art.

We propose to denote by the term "school theater pedagogy" those phenomena in the educational process of schools and universities that are somehow connected with theatrical art; are engaged in the development of imagination and figurative thinking, but not in the pre-professional training of actors and directors.

School theater pedagogy involves:

• inclusion of theater lessons in the educational process of the school;
• training of specialists for conducting theater lessons at school;
• acting and directing training for students of pedagogical universities;
• training current school teachers in the basics of directing.

Each of these blocks, in our opinion, is an extremely fertile ground for researchers, theorists and practitioners: teachers, psychologists, directors, theater critics, etc. different measure of success.

In this sense, of particular interest is the model of the cultural school developed at the Department of Aesthetics and Ethics of the Russian State Pedagogical University. A.I. Herzen. Here we propose a concept focused on the formation of the child's personality in accordance with the idea of ​​correlation between onto- and phylogeny. And then the school theater unfolds as a method of introducing the child into the world culture, which takes place according to age stages and involves the problem-thematic and targeted integration of the disciplines of the natural sciences, socio-humanitarian and artistic-aesthetic cycles. The work of the school theater here can be seen as a universal way of integration.

The school theater appears as a form of artistic and aesthetic activity that recreates the life world that a child lives in. And if in a role-playing game, whose name is theater, the goal and result is an artistic image, then the goal of the school theater is essentially different. It consists in modeling the educational space to be mastered. Based on the idea of ​​differences in the educational world at the age stages of personality formation, it is important to determine the specifics of the school theater at these stages, building the methodology of theatrical and pedagogical work accordingly.

Starting this work, the school staff should clearly understand the possibilities and place of the school theater in this particular school, with its own traditions and ways of organizing the educational process. Then you have to choose and build the existing and possible forms: a lesson, a studio, an elective. It seems to us necessary to combine these three forms.

The inclusion of the art of theater in the educational process of the school is not only a good desire of enthusiasts, but a real need for the development of a modern education system, which is moving from the episodic presence of the theater in the school to the systemic modeling of its educational function.

However, it should be taken into account that we propose not to "saturate" the system of theatrical education at school with all possible forms and methods, but to give the school a choice depending on the experience and enthusiasm of the teacher and students. In order for the teacher to make this choice, he needs to see perspective in the theatrical work.

Problems of professional and methodological training of teachers-directors of the school theater. Modern reform processes in education, a clear trend of Russian schools towards independent pedagogical creativity and, in this regard, the actualization of the problems of school theater give rise to the need for professional training of a teacher-director. Such shots, however, have not been prepared anywhere until recently.

Interesting foreign experience in this area is known. For example, in Hungary, children's theater groups are usually organized on the basis of a school and have a professional leader (every third group) or a teacher trained in special theater courses.

Theatrical specialization of persons from 17 to 68 years old who wish to work with children is carried out in a number of community colleges in the United States. Similar initiatives are taking place in Lithuania and Estonia.

The urgent need to establish theatrical work with children on a serious professional basis does not call into question the priority of pedagogical goals. And it is all the more important to preserve that valuable thing that noble non-professional enthusiasts and subject teachers seek and find in children's theatrical creativity.

The teacher-director is a special problem of the modern school. The theater turned out to be the only art form in the school, devoid of professional guidance. With the advent of theater classes, electives, the introduction of theater pedagogy into general educational processes, it became obvious that the school could not do without a professional who could work with children, as has long been recognized in relation to other types of art.

The activity of the teacher-director is determined by his position, which develops from the position of the teacher-organizer at the beginning to the colleague-consultant at a high level of development of the team, presenting at every moment a certain synthesis of different positions. In the ongoing debate about who he should be, a teacher or a director, in my opinion, there is no antithesis. Any one-sidedness, be it an exorbitant fascination with staged finds to the detriment of conducting normal educational work, or, conversely, ignoring the actual creative tasks of the team, when the spark of creativity goes out in general conversations and similar rehearsals, will inevitably lead to aesthetic and moral contradictions.

The teacher-director is a person capable of active self-correction: in the process of co-creation with children, he not only hears, understands, accepts the ideas of the child, but really changes, grows morally, intellectually, creatively together with the team.

On the basis of the Department of Aesthetics and Ethics of the Russian State Pedagogical University. Herzen, a new vocational and educational profile "School theatrical pedagogy" has been developed, which will train a teacher who is able to organize educational theatrical and game performances at school and optimize the development of the values ​​of national and world culture.

Actor and philosopher: what do they have in common? (answers of 4th year students of the Faculty of Human Philosophy of the Russian State Pedagogical University named after Herzen)

• "Situational Sense". Hence calmness, because by living the situation and, at the same time, rising above it, equanimity comes to the individual who has succeeded in this. In other words, there is a place to be knowledge of the measure.
• Tact, endurance, confidence, which should not be confused with self-confidence, where subjectivity overshadows the mind, giving rise to selfishness.
• Sociability, the ability to control emotions, the ability to fully express thoughts through emotional means. Body control. Equilibrium. The ability to feel another personality and always keep your own.
• An actor, I heard, should not allow his emotions to “stick” too much with what he does on stage - otherwise you can get lost, and the view will be pitiful, despite all the inner heat and power. In this regard, I would like to learn how to pour myself into the most adequate form, so that I can not only speak, but also see myself, my movements, posture, gestures through the eyes of students.
• For me, joy, that is, Truth, is associated with organic unity with the surrounding reality, with my physical body, with the creative manifestation of the universal content in my individual form.

“The theater is a gentle monster that takes its man if he is called, rudely throws him out if he is not called” (A. Blok). Why does the school need a “gentle monster”, what does it hide in itself? What is its attractive power? Why does his magic work on us like that? The theater is eternally young and kind, mysterious and unique.

The theater is able to reveal and emphasize the individuality, uniqueness, uniqueness of the human person, regardless of where this person is located - on the stage or in the hall. To comprehend the world, linking the past, present and future into a holistic experience of mankind and each person, to establish the patterns of being and to foresee the future, to answer the eternal questions: “Who are we?”, “Why and why do we live on Earth?” - always tried theater. The playwright, the director, the actor tell the viewer from the stage: “This is how we feel it, how we feel, how we think. Unite with us, perceive, think, empathize - and you will understand what the life that surrounds you really is, what you really are and what you can and should become.

In modern pedagogy, the possibilities of school theater can hardly be overestimated. This type of educational activity was widely and fruitfully used in the school practice of past eras, it is known as a genre from the Middle Ages to the New Age. The school theater contributed to the solution of a number of educational tasks: teaching live colloquial speech; the acquisition of a certain freedom of circulation; "accustoming to speak before society as orators, preachers." "The school theater was a theater of usefulness and deeds, and only in passing with this - a theater of pleasure and entertainment."

In the 20s of the 18th century, a school theater arose in St. Petersburg, at the school of Feofan Prokopovich, who writes about the importance of theater in a school with its strict rules of conduct and the harsh regime of a boarding school: “Comedies delight young people with a life of torment and a prisoner like imprisonment.”

Thus, the school theater as a special problem has its own history in domestic and foreign pedagogical thought and practice.

Theater can be both a lesson and an exciting game, a means of immersion in another era and the discovery of unknown facets of modernity. It helps to assimilate moral and scientific truths in the practice of dialogue, teaches to be oneself and "other", to transform into a hero and live many lives, spiritual collisions, dramatic tests of character. In other words, theatrical activity is the path of a child to the universal culture, to the moral values ​​of his people.

How to get into this magical land called Theatre? How to connect with each other theatrical systems and Childhood? What should theater classes be like for their young participants in general - the beginning of the path to the profession, a journey through various artistic eras, broadening their horizons, or maybe just a reasonable and exciting vacation?

A creative group, including university teachers (RGPU named after Herzen, Faculty of Human Philosophy; St. Petersburg State Academy of Theater Arts; Russian Institute of Art History), heads of school theaters, professional actors and directors, developed a project of the St. Petersburg Center "Theatre and School ", the purpose of which is:

• interaction between the theater and the school, implemented through the organic inclusion of theatrical activities in the educational process of the city's schools;
• the inclusion of children and teachers in the creative process, the formation of school theater groups and their repertoire, taking into account the age characteristics of the participants, as well as the content of the educational process;
• interaction of professional theaters with schools, development of theater subscriptions focused on the educational process.

The uniqueness of our project lies in the fact that for the first time an attempt is made to unite the efforts of all creative organizations and individuals involved in school theatrical creativity.

The activity of our Center develops in several directions:

School theatrical creativity. The methodology of the school theater today is the subject of close interest, while the pedagogical search in the schools of St. Petersburg is carried out with varying degrees of success and in various directions:

Schools with theater classes. Theater lessons are included in the schedule of individual classes, because in each school there is always a class that is, as it were, predisposed to theatrical activities. It is these classes that are often the basis of the school theater group. Usually this work is conducted by humanities teachers.

Schools with theatrical atmosphere where theater is a matter of general interest. This is an interest in the history and modernity of the theater, this is a passion for amateur amateur theater, where many schoolchildren take part.

The most common form of existence of the theater in the modern school is the drama club, which models the theater as an independent artistic organism: selected, talented children who are interested in theater participate in it. His repertoire is arbitrary and dictated by the leader's taste. Being an interesting and useful form of extracurricular work, the drama club is limited in its capabilities and does not have a significant impact on the organization of educational work in general.

Children's theaters outside of school represent an independent problem, however, their methodological findings can be successfully used in the school process.

Some schools managed to attract a large group of professionals and the lesson "Theater" is included in the curriculum of all classes. These are leaders who combine a director's gift, love for children and organizational talent. It was they who came up with the idea - to give the theater to every child, including a theater lesson as a discipline in the educational process of the school.

Along with the study of the experience of operating school theaters, new author's programs of lessons on theater from grades 1 to 11 are being developed. One of them is the experimental program "Theater Pedagogy at School", the author of which is a professional director, head of the theater class of school No. 485 of the Moskovsky district of St. Petersburg, Evgeny Georgievich Serdakov.

Cooperation with professional theatres. Our Center held an action "Actor's Campaign", theater subscriptions, musical and artistic programs of which are directly related to the content of the educational process. For example, the literary subscription "Petersburg Stanzas", mono-performances based on the works of A.S. Pushkin, N.V. Gogol, F.M. Dostoevsky, L.N. Tolstoy, A.P. Chekhov, V.V. Nabokov; musical and poetic programs dedicated to the work of poets of the Silver Age, the cycle "Literary Roads of Old Europe" for high school students studying the course of world artistic culture.

International projects. In 1999, our Center became a full member of Unitart - Art and Children - a network of European institutions working for children and with children, its main office is located in Amsterdam (Netherlands).

Our Center has developed an educational and educational long-term project "European school theatrical creativity", the main ideas of which are:

• interaction of European cultures on the verge of millennia through school theatrical creativity;
• studying the language, literature, culture of other peoples by means of the theater as part of the school curriculum.

The project was supported by the Unitart General Assembly in Amsterdam (October 27-31, 1999).

We have received partnership proposals from colleagues in Belgium, France, Italy, Finland, Spain and England. Especially European colleagues were interested in educational programs and performances of school theaters of our city in English, German, French, Spanish.

Childhood and youth need not only and not so much a theater model, but a model of the world and life. It is in the "parameters" of such a model that a young person is able to fully realize and test himself as a person. Combining such subtle and complex phenomena as theater and childhood, it is necessary to strive for their harmony. This can be done by building with children not a “theater” and not a “collective”, but a way of life, a model of the world. In this sense, the task of the school theater coincides with the idea of ​​organizing a holistic educational space of the school as a cultural world in which it, the school theater, becoming an artistic and aesthetic educational action, shows its originality and depth, beauty and paradox.

Pedagogy is also becoming "theatrical": its techniques gravitate towards play, fantasy, romanticization and poeticization - all that is characteristic of the theater on the one hand, and childhood on the other. In this context, theatrical work with children solves its own pedagogical tasks, including both the student and the teacher in the process of mastering the model of the world that the school builds.

School theater is being deployed as a method of introducing a child to world culture, which is carried out according to age stages and involves the problem-thematic and targeted integration of the disciplines of the natural sciences, socio-humanitarian and artistic-aesthetic cycles.

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

The founders of theatrical pedagogy were such prominent theater figures as Shchepkin, Davydov, Varlamov, director Lensky. A qualitatively new stage in theatrical pedagogy was brought by the Moscow Art Theater and, above all, by its founders Stanislavsky and Nemirovich-Danchenko. Many actors and directors of this theater have become prominent theater teachers. All theater teachers know the two most popular collections of exercises for working with students of acting schools. These are the famous book by Sergei Vasilievich Gippius "Gymnastics of the Senses" and the book by Lidia Pavlovna Novitskaya "Training and Drill". Also wonderful works of Prince Sergei Mikhailovich Volkonsky, Mikhail Chekhov, Gorchakov, Demidov, Christie, Toporkov, Wild, Kedrov, Zakhava, Ershov, Knebel and many others.

In the first half of the 19th century, theatrical student groups became widespread in gymnasiums, not only in the capital, but also in the provinces. From the biography of N.V. Gogol, for example, it is well known that while studying at the Nizhyn Gymnasium, the future writer not only successfully performed on the amateur stage, but also directed theatrical productions, painted scenery for performances.

The democratic upsurge of the late 1850s and early 1860s, which brought to life a social and pedagogical movement for the democratization of education in the country, contributed to a significant sharpening of public attention to the problems of education and training, the establishment of more demanding criteria for the nature and content of educational work. Under these conditions, a sharp discussion is unfolding in the pedagogical press about the dangers and benefits of student theaters, which was initiated by the article by N.I. Pirogov "To be and to seem". Public performances of gymnasium students were called in it "the school of vanity and pretense." N.I. Pirogov put the question before the youth educators: “... Does sound moral pedagogy allow children and young people to be presented to the public in a more or less distorted and, therefore, not in their present form? Does the end justify the means in this case?

The critical attitude of an authoritative scientist and teacher to school performances found a certain support in the pedagogical environment, including KD Ushinsky. Individual teachers, based on the statements of N.I. Pirogov and K.D. Ushinsky, even sought to bring some "theoretical base" to the prohibition of students to participate in theatrical performances. It was argued that the pronunciation of other people's words and the image of another person causes antics and a love of lies 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 to the school theater.

At the same time, at the end of the 19th - beginning of the 20th century, a conscious attitude to the theater as an essential element of moral and artistic and aesthetic education was established in Russian pedagogy. This was largely facilitated by the general philosophical works of leading domestic thinkers, who attached exceptional importance to the problems of the formation of a creative personality, the study of the psychological foundations of creativity. It was during these years that Russian science (V.M. Solovyov, N.A. Berdyaev and others) began to assert the idea that creativity in its various expressions constitutes a moral duty, the purpose of man on earth, is his task and mission, that it is precisely the creative act that wrests a person from the slavish state of compulsion in the world, raises him to a new understanding of being.

Of great importance for restoring the trust of teachers and the public in the theater as an effective means of educating young people were the studies of psychologists who declared that children have the so-called. "dramatic instinct". “The dramatic instinct, which, judging by numerous statistical studies, is found in the extraordinary love of children for theater and cinema and their passion for independently playing all kinds of roles,” wrote the famous American scientist Stanley Hall, “is for us educators a direct discovery of a new force in human nature. ; the benefit that can be expected from this force in pedagogical work, if we learn to use it properly, can only be compared with those benefits that accompany the newly discovered force of nature in people's lives.

Sharing this opinion, N.N. Bakhtin recommended that teachers and parents purposefully develop the “dramatic instinct” in children. He believed that for preschool children brought up in the family, the most suitable form of theater is the puppet theater, the comic theater of Petrushka, the shadow theater, the puppet theater. On the stage of such a theater, it is possible to stage various plays of fabulous, historical, ethnographic and everyday content. Playing in such a theater can usefully fill the free time of a child up to 12 years of age. In this game, you can prove yourself at the same time as the author of the play, staging your favorite fairy tales, stories and plots, and as a director, and as an actor, playing for all the characters in your play and as a master needleworker.

From puppet theater, children can gradually move on to drama theater. With skillful guidance on the part of adults, it is possible to use their love for dramatic play with great benefit for the development of children.

Acquaintance with the publications of the pedagogical press of the late XIX - early XX century, the statements of teachers and figures of the children's theater indicates that the importance of theatrical art as a means of educating children and youth was highly appreciated by the pedagogical community of the country.

Interested attention to the problem of "the theater and children" was paid by the First All-Russian Congress on Public Education, which took place in St. Petersburg in the winter of 1913-14, at which a number of reports on this issue were heard. The resolution of the congress noted that "the educational influence of the children's theater is felt in full force only with its deliberate, expedient production, adapted to children's development, world outlook and to the national characteristics of this region." “In connection with the educational impact of the children's theater,” the resolution also noted, “there is also a purely educational value; dramatization of educational material is one of the most effective ways to apply the principle of visibility.

The issue of children's and school theater was also widely discussed at the First All-Russian Congress of People's Theater 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 noted that the dramatic instinct inherent in the very nature of children and manifested from a very early age should be used for educational purposes. The section considered it necessary “that in kindergartens, schools, shelters, school premises at the 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, in accordance with the age and development of children, and namely: the arrangement of games of a dramatic nature, puppet and shadow performances, pantomimes, as well as round dances and other group movements of rhythmic gymnastics, dramatization of songs, charades, proverbs, fables, telling fairy tales, organizing historical and ethnographic processions and festivities, 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 holidays and performances in the school program, the initiation of petitions to the relevant departments for the allocation of special funds for organizing school performances and holidays.

Leading teachers not only highly appreciated the possibilities of the theater as a means of visual education and consolidation of the knowledge gained in school lessons, but also actively used various means of theatrical art in the daily practice of educational work.

Everyone knows the interesting theatrical and pedagogical experience of our major theoretician and practice of pedagogy A.S. Makarenko, skillfully described by the author himself.

Interesting and instructive is the experience of educating pedagogically neglected children and adolescents by means of theatrical art, developed by the largest teacher S.T. Shatsky. The teacher considered children's theatrical performances as an important means of rallying the children's team, moral re-education of "street children", their familiarization with the values ​​of culture.

In our time of major social changes, the problem of intellectual and spiritual employment of young people is extremely acute. The vacuum is being filled by anti-social preferences and inclinations. The main barrier to the criminalization of the youth environment is active spiritual work that meets the interests of this age. And here, the school theater, armed with the methods of theatrical pedagogy, becomes the club space where a unique educational situation develops. Through a powerful theatrical tool - empathy, educational theater unites children and adults at the level of common living together, which becomes an effective means of influencing the educational and upbringing 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 problems, thereby creating a protective socially healthy cultural environment.

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

• 1. Professional art addressed to 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 being solved.
• 2. Children's amateur theater, existing inside or outside the school, which has peculiar stages in the artistic and pedagogical development of children. Amateur school theater is one of the forms of additional education. The leaders of school theaters create original programs and set the tasks of serving the young audience. Both the first and the second are a significant scientific and methodological problem.
• 3. Theater as an academic subject that allows you to implement the ideas of the complex of arts and apply acting training in order to develop the social competence of students.

Artistic creativity, including acting, reveals the nature of the personality of the child-creator in an original and vivid way.

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

Theatrical pedagogy, the purpose of which is the formation of skills of expressive behavior, is used in the professional training and retraining of teachers. Such training allows you to significantly change the usual school lesson, transform its educational goals, and ensure an 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 social and cultural communication between children and adults through the perception of an original artistic phenomenon.

It is worth remembering that the flourishing of ancient Hellas is largely due to the ritual of living together by the inhabitants of the city of the great dramaturgy of their fellow tribesmen during performances, in the preparation and conduct of which almost the entire city was occupied. Mastering the learning material through living makes knowledge beliefs. Empathy is the most important tool of education.

A big problem has recently arisen in connection with the commercialization of children's creativity, including acting. The desire for the fastest result has a detrimental effect on the pedagogical process. The exploitation of external data, natural emotionality, age charm destroys the process of becoming a future artist, leads to the devaluation of his values.

It must be remembered that the theatrical educational process, due to its unique synthetic nature of play, is the most powerful means of education precisely through the living of the spiritual cultural patterns of mankind.

In this regard, it should be noted that in recent years, the socio-play style has become widespread in theatrical pedagogy. "Socio-play style in pedagogy" was given this name in 1988. He was born at the intersection of humanistic trends in theatrical pedagogy and pedagogy of cooperation, 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 of the pedagogical process.

Having carefully adopted the spirit of democracy from folk pedagogy, age-related cooperation, the syncretism of the learning process and, having enriched this with a base of practical exercises from theatrical pedagogy based on the method of K. S. Stanislavsky and P.M. Ershov, the socio-play style allows you to rethink, first of all, the role of the teacher in the educational process. The leading role of the teacher has long been defined and entered into practice as one of the main didactic principles. But, each historical time implies its own level of democracy, the process of harmony between people and a new understanding of the role of a leader and, in particular, a teacher. Each sovereign person, at the time necessary for the common cause, responsibly and consciously finds his place in the general process of doing - probably this way it is possible to define a new level of harmony, to which the pedagogy of cooperation and, in particular, theatrical pedagogy strives. This does not cross out the principle of a different level of mode “do as I do”, but suggests a wider scope of manifestations of the student’s independence and, above all, his right to make a mistake. 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 an independent act 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, he trains himself more at each lesson, honing his skills and demonstrating it with more and more "brilliance" in front of "illiterate and completely inept children." A mistake for such a teacher is equal to the loss of authority. Authoritarian pedagogy and any authoritarian system rests on the infallibility of the leader and the fear of losing it. For theatrical pedagogy, first of all, it is important to change this position of the teacher, i.e. remove from him and from the students the fear of making a mistake.

The first stage of mastering theatrical pedagogy in its dominant pursues precisely this chain - to give the opportunity to "be in the shoes" of the student and see from the inside what is happening to those we teach, to look at ourselves from the outside. Is it easy to hear the task, is the student-teacher able 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." The student-teachers are faced with the task of working on equal terms with their colleagues, and not demonstrating their acquired ability to “shut everyone up”, or keep silent in the corner.

Teachers often do not have the patience to let children "play out", "do something." Seeing a “mistake”, the teacher immediately strives to eliminate it with his lengthy and not yet demanded explanations or a “brilliant” hint. So the fear of “no matter what they did” hits the hands, as a result of which the 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 reverence.

Theatrical pedagogy proposes to see the significance in the very organization of the search process, the organization of a problem situation-activity in which children, communicating with each other, will discover something new through a task game, trial and error. Often the children themselves cannot organize such a search and creative activity and are grateful to the person who organized the celebration of research and communication for them. But the holiday will not take place if the “owner of the house” is in poor health. The equality of the teacher and children is not only in the right to make a mistake, but also in adequate interest. An adult should also be interested in the game, he is the most active fan for the success of the game. But his role in it is organizational, he has no time to “flirt”. The organizer of the holiday is always busy with "products", "fuel" for interesting mental activity of children.

The teacher-organizer, the entertainer of gaming didactic activity, acts in this case as the director of creating a situation of friendly communication through control over his own behavior and the behavior of students.

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

It is important to develop a range of control over your behavior in communication. To master acting and pedagogical skills, to master a variety of techniques of influence. It is necessary to master your bodily mobilization and be an example of business purposefulness. Exude joyful, despite the mistakes and failures, well-being. Any positional conflicts that arise in educational work, strive to neutralize with their business approach, without entering into altercations. To 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, use the levers of persistence in full: different (starting from a whisper) voice volume, its height, different speed of movement in the class and speaking, extensions and extensions, change of various verbal influences. In any case, strive to discover the friendliness of the interests of students and the teacher. And not to declare it, but to find it in reality, without replacing it with pedagogical hypocrisy 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, but they say it as it is customary.

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

• 1. The principle of improvisation. "Here, today, now!" Be ready for improvisation in tasks and conditions for its implementation. Be prepared for miscalculations and victories for both your own and your students. Overcoming all obstacles to meet as an excellent opportunity for live communication of children with each other. To see the essence of their growth in moments of misunderstanding, difficulties, questioning.
• 2. Do not "chew" each task. The principle of lack of information or silence. “I didn’t understand” in children is often not associated with the process of understanding itself. It can be just a defense - “I don’t want to work, I’ll take the time”, the desire to attract the attention of the teacher and the school habit of “freeloading” - the teacher is obliged to “chew everything and put it in his mouth”. Here comments are needed businesslike, the most urgent, giving the initial setting for joint activities and communication of children with each other. It is necessary to give the opportunity to clarify with peers what is really incomprehensible question. This does not mean writing off what our children have long been accustomed to, it means legalizing mutual assistance. Such a clarification is useful for both of them more than multiple explanations of the teacher.
• 3. Even if the task is not really understood by the children, but they are doing something, do not rush to interrupt and explain the “correct” option. Often the “incorrect” execution of a task opens up new possibilities for its application, a new modification, which you would not have guessed before. Perhaps, the activity of children is more expensive here, and not the correct fulfillment of the conditions of the task. It is important that there is always the possibility of training in search of a solution to the problem and independence in overcoming obstacles. This is the principle of student self-activity priority.
• 4. Often the teacher experiences acute negative emotions when confronted with the refusal of children to complete the task. He "suffered, created, invented at night" and brought the children a "gift", for which he expects a natural reward - joyful acceptance and embodiment. But they don’t like it, and they don’t want Demyanova’s fish soup. And then there is an insult to the “refuseniks”, and, in the end, the conclusion is “yes, they don’t need anything at all! ..”. So there are two warring camps of students and teachers, streibrechers-excellent students and "difficult". Difficult ones are those who cannot or do not want to please the teacher. The principle of student priority: "The viewer is always right!" The advice here is to realign your overall stance towards rejection. If you try to see in it a hint for yourself, a real “feedback” that teachers dream of, then this will be perceived as a return gift from the child. First, he showed his independence, the independence that you were going to cultivate in him. And secondly, he drew the attention of the teacher to the need for a more thorough assessment of the level of preparation and interests of students. This will help to find the adequacy of the task to the level of need for it.
• 5. One of the central techniques is working on a task in small groups. It is here, in a situation of complementarity and constant change of role functions, that all the techniques and skills to create a common mood in joint work work effectively and are constantly honed. A change of role functions is being developed (teacher-student, leader-follower, complementary), as the composition of the groups is constantly changing. There is an objective need to include each member of the group in the work, since holding the answer for the group can fall on any of the participants by lot. This is the principle of business, not ambition. "Today you are playing Hamlet, and tomorrow you are an extra."
• 6. The principle “Do not judge…” Tact is practiced in the ability to “judge” the work of another group on the case, and not on personal sympathies and claims, which result in mutual insults and pain. To avoid such “showdowns”, the teacher needs to establish business-like, specific criteria for assessing the performance of tasks. For example: did or did not manage to meet the set time? All or not all group members were involved in demonstrating the answer? Do you agree or disagree with the answer? Such unambiguous, not related to the assessments "like - do not like, bad - good", the criteria at first control, first of all, the organizational framework of the task. In the future, studying the evaluation criteria, students learn to track and note the objective, and not the taste side of the phenomenon. This makes it possible to remove the acuteness of the problem of clashing ambitions in collective work and more constructively keep records of the mastered material.

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

• 7. The principle of compliance of the content of the work with a certain external form, i.e. mise-en-scene. Mis-en-scene solution of the educational process. This should be expressed in the free movement of students and teachers in the class space, depending on the need for the content of the work. This is the habitation of space for its appropriation and comfortable well-being in it. This is the search for a teacher's place in each specific situation is different. It is not the work that should serve some external order, but the order must change depending on the needs of the work.
• 8. The principle of problematization. The teacher formulates the task as a kind of contradiction, which leads students to experience a state of intellectual impasse, and plunges them into a problem situation. A problem situation (problem-task, situation-position) is a contradiction between the range of proposed circumstances and the needs of an individual or a group of individuals within this vicious circle. Therefore, a problem situation is a psychological model of the conditions for generating thinking based on the situational dominant of a cognitive need. The problem situation characterizes the interaction of the subject and his environment. Interaction of personality and objective contradictory environment. For example, the inability to complete a theoretical or practical task with the help of previously acquired knowledge and skills. This leads to the need to arm with new knowledge. It is necessary to find some unknown that would allow resolving the contradiction that has arisen. The objectification or objectification of this unknown takes the form of a self-questioning question. This is the initial link in the mental activity that connects the object and the subject. In educational activities, such a question is often asked by the teacher and addressed to the student. But it is important that the student himself acquires the ability to generate such questions. In search of an answer to the question of new knowledge, the subject develops or lives the path to the generation of knowledge. In this sense, the problem situation is the primary and one of the central concepts of theatrical pedagogy and, in particular, the socio-play style of learning. Problem-based learning is a teacher-organized way of student interaction with the problem-represented 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 cognitive motivation of the student, his interest in the subject. In training, by creating a problem situation, the conditions for research activities and the development of creative thinking are modeled. The means of managing the process of thinking in problem-based learning are problematic questions that indicate the essence of the educational problem and the search area for unknown knowledge. Problem-based learning is realized both in the content of the subject of study and in the process of mastering it. The content is realized by the development of 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 the teacher and the student, and the students with each other, where they are interested in each other's judgments, since everyone is interested in resolving the problem situation that everyone is in. It is important to collect all the solutions and highlight the fundamentally effective ones. Here, with the help of a system of educational problems caused by problem situations, subject research activity and the norms of social organization of dialogic communication of research participants are modeled, which in fact is the basis of theatrical pedagogy of the rehearsal process and education, which allows developing the mental abilities of students and their socialization.

The main means of testing any assumption is experimental verification, confirming the evidence of the facts. In theatrical 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.

Scenario is understood as an educational and pedagogical process of creating a plan for an actor's experiment-etude 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, by certain means available to the characters of the story. Unlike a professional acting sketch, in a general educational situation, it is not the acting skill itself that is important, but its ways of appropriating the situation. This is a process of creative imagination and mental justification of the proposed circumstances and an effective experiment-etude 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 lost the etude-experiment, practically visited the situation under study and tested the assumptions and options for behavior and solving the problem in a similar situation on their life-game experience. Moreover, educational and cognitive etudes can be designed both to completely recreate the necessary situation, and similar situations, similar in essence, but different in form, which may be closer and more familiar to students. The etude method, as a method of studying a situation or a certain content, involves the formulation of a problem and the task of solving it, the creation of a list of game conflict rules of behavior (what is possible and what is not), which create a game problem situation. In this case, the main step is the 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 evaluated. If the rules are followed, then the results obtained are reliable.

In the discussion analysis of compliance with the rules, both student-performers and student-observers participate, who are initially charged with the role of controllers. It is this ternary competitive process of interchange of information lived in the study, observed and controlled that allows students to get into a reflective position that effectively moves the process of generating new knowledge. It is absolutely not important how the student performers played from the point of view of the acting technique of plausibility, it is important what the student observers saw in this. And they are able to see in a simple etude of their comrades a lot of new ideas and solutions to the problem, which the performers do not even suspect or do not plan. Even before the perception of the subject, we are full of meanings about it, because we have life experience. These “views from different angles”, let us recall again our favorite parable about the blind men and the elephant, and allow the participants in such work to be enriched from each other with new parts of the truth through subject-reflexive relations, striving for its integrity. Reflection in this case is understood as a mutual display of subjects and their activities in six, at least, positions:

• - the rules of the game themselves, as they are in this material - control;
• - the performer, as he sees himself, and what he has done;
• - the performer and what he did, as seen by observers;
• - and the same three positions, but from the side of another subject.

So there is a double mirror mutual display of each other's activities.

So modern theatrical pedagogy comprehensively approaches the training of the entire spectrum of sensory abilities of children, at the same time there is an accumulation of competence in creating a harmony of interpersonal communication, the scope of independent creative and mental activity is expanding, which creates comfortable and, importantly, natural conditions for the process of learning and communication. The methods 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.

Ticket number 11. The concept of "theatrical pedagogy".

Theatrical pedagogy is the involvement of children in active verbal communication, it is a diverse range of emotional experiences, it is a whole world where the child's intellect is liberated.

Staging performances is not only a game and entertainment, it is one of the main methods of stimulating the creative activity of children and increasing the motivation for verbal communication. Children learn that actors in their work use the tools that nature has given them: body, movement, speech, gesture, facial expressions ... Children try very hard to play the entrusted role as believably as possible, and this is another incentive for the development of speech.

The introduction of theatrical activity into the educational process involves its use not as a means of entertainment, but as a method of stimulating the creative activity of children, where the teacher is focused on the personality of the child as a whole, and not only on his functions as a student.

theatrical activity allows to form the experience of moral behavior and the ability to act in accordance with moral standards. Theatrical activities eliminate painful experiences associated with speech defects, strengthen mental health, and improve social adaptation.

Theater Pedagogy puts emphasis on the process of teaching actors how to work in a theater troupe, as well as on expanding the creative range of actors, both of the middle and older generations. In practice, the educational work of theater art teachers is aimed at developing two important qualities in students: artistry and aestheticism. At the same time, it is believed that none of the above qualities can be excluded, giving priority to the other, because, in the end, this will lead to the collapse of the tatra art. For children under 12 years old, participation in puppet theater plays will be useful, which will allow the child to be not only an actor, but also a director. The teacher will be able to consider the inherent creative talents in the child. After participating in the puppet theater, children may well be interested in the drama theater.

Theatrical Pedagogy as a Universal Means of Human Education.

Theatrical pedagogy has been used in educational activities since Antiquity. School and theater are very similar. Both the theater and the school create models of the world, these are small planets where people (you and me) and our pupils live, communicate, interact, work, quarrel, achieve certain results.

Children do not have life experience, their social circle is mainly their peers with similar life experience, and our goal, the goal of the school, is to produce a socially adapted personality, comprehensively developed and harmonious. And I, as a teacher of the Russian language and literature, an organizer of extracurricular activities, by trial and error, found the best way for the social adaptation of children - modeling life situations in which a graduate may find himself, leaving school, in class and extracurricular activities, using methods and techniques theater pedagogy.
Soviet educators such as Makarenko, Lunacharsky, Vygotsky also spoke about the effectiveness of its use in educational activities. There is great interest in this pedagogy today. An example is the annual municipal, regional, international school theater festivals, in which we are successful participants. And this is a strong motivation for students.
Advantages: possession of a live conversational speech, body and facial expressions, the development of emotionality, feelings, empathy, the ability to feel the situation and get out of it, the education of taste and sense of proportion, publicity, the ability to control the audience, interact with others while maintaining individuality, immersion in another era and proposed circumstances, success here and now - a universal means for educating a Person.

The specifics of theatrical art is such that from the first minute of communication to the final (release of the performance), the teacher has a direct impact on the development, education and formation of the student's personality. The choice of exercises, tasks, topics for sketches, conversations, other forms and methods of teaching are aimed at developing the personality as a whole. The pianist has a piano, the violinist has a violin, and the actor has an "instrument" himself. How this “instrument” will be “tuned” depends on the personality of the teacher himself. The student may "sound", or may remain "closed" to the teacher for a long time. Of great importance are the interest and love of the teacher for children, his enthusiasm for pedagogical work, psychological and pedagogical vigilance and observation, pedagogical tact, pedagogical imagination, organizational skills, justice, sociability, exactingness, endurance, professional performance. To master the qualities listed above, it is necessary to study, master the patterns and mechanisms of the pedagogical process in theatrical activity. This will allow each topic or section to be divided into constituent elements, to comprehend each part in connection with the whole, to find the main pedagogical problem and ways to optimally solve it. It is necessary to rely in their activities on scientific theory. There are not so many of them in theatrical art, unlike pedagogy. But you need to keep in mind that any scientific theory is a set of laws and rules, and practice is always specific and momentary. In addition, the application of theory in practice already requires some skills of theoretical thinking, which the teacher does not always have. Pedagogical activity is a holistic process based on personal acting and life experience, pedagogical methods, psychology, philosophy, etc. not brought to the level of generalized knowledge necessary to manage the pedagogical process. This leads to the fact that a teacher engaged in theatrical activities not under the influence of theory, but on the basis of superficial ideas about pedagogical activity in the theater, turns out to be helpless in a professional sense. Entertainment becomes the main thing, while in the first place should be the formation of moral and value orientations, awareness of public duty and civic responsibility.

Theatrical activity is a collective activity. Without a mutually understanding teaching staff, there will be no good result. It is theatrical activity that forces you to work only with like-minded people. The teacher-choreographer, the teacher - in stage speech, stage movement, vocals are united in the educational process and, when working on the stage embodiment of dramatic material, they must work according to the same rules, be like-minded.