School theatres. Project on the topic: Project of the school theater of historical reconstruction "Historical theater - development, harmony, future"

Application No. 1

Syllabus

The curriculum of the historical theater "Melpomene",

operating on the basis of MBOU secondary school No. 6

Educational and thematic plan

(1st year of study)

1. Introductory lesson"Let me introduce myself" - 2 hours

Theory: Goals and objectives of training. prospects creative growth. Introduction to theater as an art form.

Practical work:View creative works, video films with performances.

Form of the lesson- Team presentation.

Receptions and methods: playful, visual, illustrated.

Didactic material: videos, photographs.

Summing up form: survey, interview.

2. The history of the theater. Theater as an art form- 12 hours

2.1. Theater History Pages: Medieval Square Theater.

Theory: . Actor of the medieval theater, its religious meaning. Medieval theater actor, synthetic character of the art of "professional entertainers". Symbolism and conditionality of the design of a medieval performance. The connection of the theater with medieval literature and fine arts. Transformation of the traditions of the medieval theater in modern theatrical festivities (carnivals, masquerades, processions).

Practical work:Introduction to art medieval Europe by illustrations and slides, by descriptions of theatrical performances. Playing scenes, improvisations in the spirit of medieval theatrical genres. Preparation of sketches "Medieval theater". Watching videos with carnivals, masquerades.

Forms of conducting classes:

Receptions and methods: heuristic, method of improvisation.

Didactic material: cards with handouts, literature on the topic, videos.

Summing up form: mystery playing.

2.2. Pages of theater history: the theater of ancient Greece.

Theory: The general rise of culture and art in Ancient Greece. The social and educational role of the theater. Peculiarities ancient Greek theater: a combination of music and plasticity, words are an active means of influencing the viewer. The costume and mask are elements of the generalized characteristics of the characters. Tragedy and comedy are the main genres of ancient Greek drama.

Practical work:Commentary reading passages from "Prometheus Bound" by Aeschylus. Reading the book by A. Govorov "Alkamen - theatrical boy." Familiarity with the illustrations and photographs of the device auditorium and design of the stage area of ​​the ancient Greek theater. Correspondence tour of the modern theater building.

Forms of conducting classes: group lessons on the assimilation of new knowledge.

Receptions and methods: method of game content, visual, explanatory and illustrative.

Didactic material: task cards, photographs, DVDs, CDs.

Summing up form: blitz survey, independent improvisations

2.3. Theater is a collective art

Theory: Acquaintance with theatrical professions. The performance is the result of collective creativity. Who's Who in the Theatre. The actor is “the main miracle of the theatre”.

Practical work:creative tasks to get acquainted with the elements of theatrical professions: the creation of posters, sketches of scenery and costumes.

Forms of conducting classes: correspondence tour of the theater workshops.

Receptions and methods: reproductive, explanatory and illustrative

Didactic material: photographs, DVDs, CDs.

Summing up form: abstracts on the topic: "Journey through theatrical program".

3. Acting diploma - 12 hours

3.1. Variety of expressive means in the theater

Theory: Acquaintance with dramaturgy, scenery, costumes, make-up, musical and noise design. Kernel theatrical art- the performing arts of an actor.

Practical work:trainings for attention: "Catch the Cotton", "Invisible Thread", "Many Threads, or the Big Mirror".

Forms of conducting classes: conversations, games.

Receptions and methods:

Didactic material: task cards.

Summing up form: analysis of practical activity.

3.2. The value of behavior in acting.

Theory: the actor’s ability to “transform”, transform, by changing his behavior, a place, time, situation, partners.

Practical work:exercises for collective coordination of actions (simultaneously, one after another, on time); educating situations “What will happen if I play alone ..”; transformation of a given object with the help of actions into something else (individually, with assistants).

Forms of conducting classes: conversations, games.

Receptions and methods: full load method, game content method, improvisation method.

Didactic material: task cards.

Summing up form: independent improvisation

3.3. Wordless and verbal actions

Theory: Development of requirements for the organic behavior in the conditions of fiction. verbal actions. Psychophysical expressiveness of speech. Verbal influences as a subtext. An etude justification for a given chain of verbal actions.

Practical work:Performing etudes, training exercises., exercise: “Today I am ...”, etudes for proverbs, winged expressions, sayings, plot poems, paintings - single, pair, group, without words and with minimal use of text.

Forms of conducting classes: conversations, game forms, classes-offset.

Receptions and methods: full load method, game content method, improvisation method.

Didactic material: task cards.

Summing up form: analysis of the work of his and his comrades.

1. Fiction reading - 12 hours

1. Artistic reading as a form of performing art.

Theory: The role of reading aloud in enhancing the general reading culture. Fundamentals of practical work on the voice. Anatomy, physiology and hygiene of the speech apparatus. literary pronunciation.

Practical work:developing the skill of correct breathing when reading and conscious control of the vocal apparatus (voice range, its strength and mobility. Sound generation exercises: Bamboo, Roots, Rag Doll, Rubber Doll, Lantern, Antenna, “Multi-colored fountain.” Practicing the skill of correct breathing while reading and conscious control of the speech apparatus.

Forms of conducting classes: group

Receptions and methods:

Didactic material:

Summing up form: breathing exercises, exercises for the development and control of the vocal apparatus.

1. The logic of speech.

Theory: Fundamentals of stage "sculpting" of the phrase (logic of speech). Phrase concept. Natural construction of the phrase. The phrase is simple and complex. The basis and explanation of the phrase. Explanations on bass and treble.

Practical work:Articulation gymnastics: exercises for the lips "Smile-proboscis", "Clock", "Curtains"; exercises for the tongue: "Injections", "Snake", "Cocktail". Reading passages or literary anecdotes.

Forms of conducting classes: group, play.

Receptions and methods: the method of stepwise increase in loads, the method of game content, the method of improvisation.

Didactic material: individual cards with exercises on the topic.

Summing up form: breathing exercises, execution of the text, demonstrating the mastery of the "sculpting" of the phrase.

1. verbal influences.

Theory: Classification of verbal influences. The text and subtext of a literary work The ability to draw a particular picture with a sounding voice. The connection of the drawn picture with the genre of a literary work.

Practical work:Exercises on "dispro-ultra-natural action": transformation of a given object with the help of actions into something else (individually, with an assistant); voice exercises: "Jump into the water", "Bells", "Jumper", "Scuba diver".

Forms of conducting classes: group, lesson-offset.

Receptions and methods: the method of stepwise increase in loads, the method of game content, the method of improvisation.

Didactic material: individual cards with exercises on the topic.

Summing up form: performance by each pupil of works from his reader's repertoire.

stage movement

1. Fundamentals of acrobatics.

Theory: Schools and methods of movement training of the actor. Development of the psychophysical apparatus. Fundamentals of acrobatics, work with balance, work with objects. Safety engineering.

Practical work:Shoulder warm-up: Windmill”, “Mixer”, “Spring”, “The cat climbs the fence”. Training: “Cart”, “Doggy”, “Goose step”, “Jump in place”. Elements of acrobatics: forward somersault, backward somersault, kangaroo, grasshopper. Stage falls: falls forward bent over, fall back on the back.

Forms of conducting classes: group.

Receptions and methods:

Didactic material:

Summing up form: sketches

5.2. Teaching dance and the art of dance improvisation.

Theory : Conversations: "Finding Your Own Style", "Dance Today", "About Isadora Duncan". "Ballroom" dances: "Dance-procession", "Mazurka", "Minuet",Waltz of Friendship, Figured Waltz.

Practical work:Universal workout. Elements of different styles of dance forms. Classical dance (batman tandyu, batman jeté, grand batman). The main positions of the arms, legs, setting the body. Learning the basic elements of folk dance: a simple step, a variable step, a step with a stomp, a rope, a pick. "Ballroom" dances: "Dance-procession", "Mazurka", "Minuet". Learning their basic elements.

Learning the waltz step. Score of the dances "Waltz of Friendship", "Figured Waltz".

positions in pairs. The main elements of the ballroom dance "Figured Waltz": "balance with a turn", "window", "waltz track", "right turn in pairs".

Forms of conducting classes: group.

Receptions and methods: method of stepwise increase in loads, method of dense loads, method of mutual learning.

Didactic material: mats or acrobatic tracks

Summing up form: dance composition on a given theme.

6. Work on a play - 54 hours

6.1. The play is the basis of the play

Theory: Features of the compositional construction of the play: its exposition, plot, climax and denouement. time in the play. Characters - characters performance.

Practical work:work on the selected play, understanding the plot, highlighting the main events that are turning points in the development of action. Definition of the main theme of the play and the ideas of the author, revealed through the main conflict. Definition of the genre of the play. Reading and discussion of the play, its themes, ideas. General discussion about the concept of the play.

Forms of conducting classes: practical

Receptions and methods: the method of stepwise increase in loads, the method of game content, the method of improvisation.

Didactic material: individual cards with exercises on the topic.

Summing up form: play analysis

6.2. The text is the basis of the performance.

Theory: Narrative and dramatic text. The speech characteristic of the character. Speech and non-speech behavior. Monologue and dialogue.

Practical work:work on cards “from prose to dramatic dialogue”, “Sphere of dialogue and sphere of play”, “Who said it?”, “Creation of speech characteristics of characters through text analysis”, expressive reading by roles, placement of stress in the text, exercises for collective coordination of actions, working out the logical connection of text and movement. Main etude-staged work by roles

Forms of conducting classes: practical

Receptions and methods: heuristic, problematic

Didactic material: individual cards with exercises on the topic.

Summing up form:compilation of the table "History about ..., which ...".

Theatrical professions - 20 hours

6.1. Theatrical makeup. Costume.

Theory: Reflection of the stage image with the help of makeup. Make-up as one of the ways to achieve expressiveness: ordinary, variety, characteristic, abstract. Makeup methods.

Practical work:Makeup techniques. Creation of makeup sketches for the characters of the selected play. Applying make-up pupils to each other.

Forms of conducting classes: creative laboratories

Receptions and methods:

Didactic material: make-up kit, fat cream, foundation, lipstick, gummosis, powder, various brushes, cotton swabs, paper napkins, albums, paints, pencils.

Summing up form:sketching more complex makeup.

1. Theatrical costume.

Theory: The costume is one of the main elements that influence the idea of ​​the image and character. The suit is "specified" and "universal". Color, texture.

Practical work:creating sketches of costumes for the selected play.

Forms of conducting classes: creative laboratories

Receptions and methods: heuristic, explanatory-illustrative

Didactic material: illustrations from books, photographs, albums, paints, pencils.

Summing up form:abstracts on the topic: "Era in the mirror of fashion."

6.3. rehearsal period.

Practical work:Connection of scenes, episodes; rehearsals in the scenery, with props and props, rehearsals in costumes, rehearsals with musical and lighting design, summary rehearsals, rehearsals with the combination of all expressive means. Dress rehearsal.

Forms of conducting classes: rehearsals

Receptions and methods: improvisation method, full load method.

Summing up form:premiere (the first performance of the performance for the audience). Discussion of the premiere performance (all actors, all services participate).

7. Events and psychological workshops-18 hours.

Theory: Acquaintance with the methodology of conducting and organizing leisure activities. Thematic planning, scenario development.

Practical work. Participation in the preparation of leisure activities within the institution. Identification of errors Design of the newspaper "In the world of theater".

Form of the lesson: evenings, holidays, contests.

Receptions and methods: heuristic, full load method

Didactic material: scenarios.

Summing up forms: Joint discussion and assessment of what has been done.

8. Excursions - 8 hours.

Excursions.

1. Final lesson - 2 hours

Application No. 2

Approximate cost estimate

Costings:

Staff costs

1. teacher additional education: 72 000 rub.

2. Minibus driver 10,000 rubles.

3. Tailoring of costume elements 7000 rubles

Non-personnel expenses:

1. Payment for sightseeing trips 30,000 rubles

Technique:

• Printer 3000 rub.
• Refueling the printer 1000 rubles.

Materials:

1. Stationery:

• Printer paper 1000 rub.
• Markers, paints, brushes 4000 rub
• Folders, folders 300 rub.
• Other 4000 rub.

1. Decor:

• Sheet plywood 2000 rub.
• Tool 5000 rub.
• Fabric 10000 rub.
• Decoration elements 10,000 rubles.

Services:

• Wide format printing (posters) 1000 rub.
• Paid services local history museum 1000 rub.

Total: 170 thousand rubles 300 rubles

MBOU secondary school No. 6, in turn, represents:

• Premises for conducting classes;
• Required equipment: multimedia installation, audio and video equipment;

Municipal budgetary educational institution

average comprehensive school №6

urban district of Vyksa

Project

"Creation theater group

as one of the forms of increasing the cognitive activity of students "

Done: history teacher

Klokova Yana Alexandrovna

G. Vyksa

year 2013

Summary.

Municipal state-financed organization secondary school No. 6 carries out educational activities under the following programs: primary general education, basic general education, secondary (complete) general education. The school is located at Vyksa, Gogol microdistrict, building No. 28/1.

Secondary school No. 6 needs 170,000 rubles to organize a school historical theater. The purpose of the activity, which is to foster love for the subject, through increasing the cognitive activity of schoolchildren, developing a sense of patriotism and active citizenship, love for his native city. As a result of the work of the circle, it is planned to educate a student who is diversified, capable of assessing historical events, understanding and accepting the deep moral foundations of our city and country, their brilliant cultural heritage.

Introduction.

The municipal budgetary institution secondary school No. 6 in 2013 celebrates its 40th anniversary.40 years is a glorious milestone in the history of the school. And we have a lot to be proud of! During this time, the school has released more than 3rd thousand students, of which 72 silver medalists and 55 - gold.

The motto of the teachers working in our school are the words: "the main thing is that the spirit of creativity lives in the school, aimed at increasing the mind, kindness, justice and health." In conditions modern society Taking into account the social disadvantage of the district in which the school is located, it is not always possible to educate a creative and comprehensively developed personality. Task teaching staff MBOU secondary school No. 6 provideemployment of students outside school hours, in order to prevent antisocial behavior and increase motivation for learning activities. One of the ways to solve this problem is to involve children in the school-wide project of the historical theater group "Melpomene"

Target : fostering love for the subject, through increasing the cognitive activity of schoolchildren, developing a sense of patriotism and an active citizenship, love for their native city.

Tasks: - to create favorable conditions for the study of historical material, immersion in another era and the discovery of unknown facets of modernity.

To acquaint with the history of the theater and theatrical professions;

- to teach to understand the historical costume;

- introduce the basics of dramaturgy and captivate the team into an independent creative process of writing a play.

The organization of a historical school theater contributes to the solution of a number of learning objectives:

Educational.

In the process of non-standard work, choosing suitable works for staging, students read a lot, get acquainted with new literature, learn to analyze, perceive reality adequately, explain and evaluate historical events;

Educational.

Communication with high literature, careful selection of material teaches children careful attitude to cultural heritage and defines new interpersonal relationships; The role of the theater in socialization, in the education of patriotism, citizenship and the formation of tolerance cannot be underestimated. Thanks to the work in this association, interest in theatrical art in general and in the historical theater in particular increases.

Description of the problem

For the leaders of the theater group stage work with students - a means of moral education and personality formation. For theater students, this is an opportunity to manifest creativity and the formation of the ability to live and work in a team.

And the theater in this sense is the best way to help realize the plan, because the theater is a collective art. The performance, as a work of theatrical art, is created not by one person, but by many participants in the creative process - an actor, director, choreographer, musical designer, costume designer - everyone invests his share of creative work in a common cause, Therefore, a true creator in theatrical art is not individual person, but the team.

Since ancient times, mankind has used the theater and forms of theatrical action for the purpose of educating and developing the individual and educating social consciousness.

At present, classes in theatrical art of children have not lost their relevance.

IN modern world most children are already early age heavily influenced by television and virtual computer games. With all the apparent brightness of entertainment, one should be aware that the child most often remains a passive spectator. These games do not affect those psycho-emotional centers that are responsible for the work of active, effective imagination. But it is imagination for younger age becomes the locomotive of all creative activity of general development, implemented in the form of a game.

To compensate for the missing knowledge and needs for creativity, it is possible in the system of additional education by being engaged in a children's theater group.

The polyartistic theatrical environment contributes to the development of the younger generation: the theater introduces children to music, literature, fine arts. Theater education forms the worldview of children, aesthetic taste, awakens independent and independent thinking.

Involving children and adolescents in classes in a children's theater group solves one of the most acute social problems, excluding the possibility of children being "on the street".

Methods and terms of project implementation.

How will the work in the theater association be organized? Each performance of the historical theater is a unique research project. The performance as a multifaceted synthetic theatrical performance makes it possible to demonstrate one's interest in the historical era, knowledge of its values, code of honor, life, clothing, weapons. In the process of preparing the performance, the troupe must study both the literary basis of the performance (directly a dramatic work) and the primary sources on which the work was written.
The originality of the work on the performance lies in the fact that the historical era, as mentioned above, is studied in a complex. The theater artist studies historical and literary monuments era, her ethical standards, figurative system, musical heritage, customs and mores of our ancestors. A holistic image of the era is created, reconstructed on stage. In the process of working on the performance, the artist lives the fate of his hero and this gives an unforgettable and incomparable effect.
historical theater is not just a form of organizing additional education in a subject or an informal creative association of children. It also acts as a culture-forming environment for their activities.(think about what to add)

Participation in the work of the historical theater involves the multifaceted activities of students:

Collection and preparation of the source base for historical staging;

Creating a script;

Performance as actors;

Registration of posters, invitation cards and programs of performances;

Arrangement and performance of music;

Making costumes, scenery, props;

Performing the work of the illuminator and sound engineer;

Thus, the historical theater becomes a platform for the realization of the abilities of each child, depending on his abilities and interests. In the classroom it is difficult to create a situation of success, but in the theater it is possible. When an unsuccessful student receives recognition among classmates, teachers, parents, he becomes successful in his studies. Moreover, notorious, insecure children begin to believe in themselves, in their own strength, working on leading complex roles in performances.

Theater is hard work. Behind the external beauty and ease with which performances and staging take place, there are difficult, exhausting, lengthy rehearsals, the ability to sacrifice something in the name of a common cause. When a child has an occupation that is interesting to him, that he needs, for which he feels responsible, when he is waiting for new meetings with his colleagues, the need for dark porches and dubious companies disappears. The child has something to spend time and energy on.

Theater is also labor education. All scenery, costumes, props, stage montage, lighting and musical design are prepared by the students. This work, hidden from prying eyes, introduces children to a careful attitude to their work and the work of the people around them.

The cast of the theater association is not limited. Everyone can work in the team - junior schoolchildren, teenagers, high school students. The composition of different ages is the key to the formation of a harmonious personality. Each child will occupy a certain niche, perform the work that is feasible and interesting for him.

Accounting for the age characteristics of the cast is carried out in the following ways.

First, we must focus on the normative, as well as the dominant and chronically unmet needs of schoolchildren in each age group. For example, if younger students are characterized by the desire to acquire a new social status(student status), then they are offered roles through which they get acquainted with history as a science, with basic historical knowledge and concepts.

The main age-related need of adolescents is communication with peers, so they work with great satisfaction on theatrical material that reveals the laws of building communications between people. And, finally, for the needs of high school students, it is typical to turn to the analysis of such vital questions as “who to be?”, “Who to be with?”, “What to be?”. In connection with this circumstance, high school students are attracted to performances and roles that contribute to their personal self-determination.

Secondly, relying in our work on characteristics of different ages, we equip children with socially acceptable means that ensure the successful achievement of personal goals. We encourage our pupils, replacing with elements of creativity such traditional educational mechanisms as moralization, order, verbal persuasion, to positive forms of behavior that become more attractive to them, thanks to the emotional experiences that they experience when reincarnated in one or another image.

Thirdly, the content of the scenarios is focused on the curricula of those age categories with which we work. When choosing material for work, we also discuss with subject teachers, which makes it possible to implement interdisciplinary connections in the activities of the historical theater.

The work of the historical theater is based on the following conceptual principles:

Success principle Every child should feel success in any field of activity. This leads to the formation of a positive "I-concept" and the recognition of oneself as a unique component of the surrounding world.

Principle of dynamics. Provide the child with the opportunity to actively search for and master objects of interest, his own place in creative activity, and do what he likes.

The principle of democracy. Voluntary orientation to gaining knowledge of a specifically chosen activity; discussion of the choice of joint activities in the team for the upcoming academic year.

The principle of accessibility. Training and education is built taking into account the age and individual capabilities of adolescents, without intellectual, physical and moral overload.

The principle of visibility.A variety of illustrations, video cassettes, audio cassettes, and recordings are used in educational activities.

The principle of systematic and consistent. Systematicity and consistency are carried out both in the conduct of classes and in independent work pupils. This principle allows you to achieve great results in less time.

The project includes several main sections:

1. History of the theater. Theater as an art form.

2. Acting diploma.

3. Artistic reading.

4. Stage movement.

5. Work on the play.

The classes of the theater circle consist of theoretical and practical parts. The theoretical part includes brief information about the development of theatrical art, the features of the development of mankind in a certain historical era, a cycle of informative conversations about the life and work of the great masters of the theater, the study of a certain historical era. The practical part of the work is aimed at obtaining acting skills.

Stages of training and predicted result

The program is implemented at three levels of the educational process.

The 1st stage of training - the initial stage "First Steps" - the main goal of this stage is the identification and development of the general performing abilities of children, the formation of interest in acting. During the first stage, students receive initial knowledge and skills in the field of theatrical art, discover behavior (action) as the main material of acting, and lay the foundation for an in-depth understanding of theater as an art form. The main form of work at the first stage is theatrical games and improvisation exercises.

The 2nd stage of training is an extended stage of the "Paths of Knowledge" - the main goal is an in-depth study of historical material, the distribution of roles and responsibilities among participants. During the second stage of training, the knowledge gained at the first stage is consolidated and expanded, the expressiveness and brightness of behavior in the actor's performance in front of the audience continue to improve. Forms of work - trainings, rehearsals.

3rd stage of training - "Skill + Inspiration" - the purpose of the stage is to consolidate and develop the desire for creative activity, complete independence in work, the teacher acts as an assistant and consultant. The main form of work is staging performances and rehearsals.

In the work on the program, the role-based existence of the pupil in the classroom is fundamentally important: he is a participant historical events, director, critic.

The main goal of the project is to create favorable conditions for the study of historical material, immersion in another era and the discovery of unknown facets of modernity.

The theater helps to assimilate moral and scientific truths in the practice of dialogue, teaches you to be yourself 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.

Predicted result:

At the end of the project, students should know and be able to

Use and improve the acquired historical knowledge;

Work with historical sources;

Distinguish between the main and the secondary;

Independently work on creating a play based on previously selected theoretical material;

Using the necessary acting skills: freely interact with a partner, act in the proposed circumstances, improvise, focus, “turn on” emotional memory, communicate with the audience;

Possession of the necessary skills of plastic expressiveness and stage speech;

Active manifestation of their individual abilities in the work on a common cause - the design of scenery, recordings of phonograms.

And most importantly, strive for constant spiritual improvement, expanding your cultural horizons.

Control of knowledge and skills of students is carried out in the form of a reporting performance.

Conclusion.

IN historical education For schoolchildren, extracurricular activities are becoming increasingly important. And this is natural: the connection between teaching and life needs to be expanded. extracurricular activities as the most serious and effective remedy upbringing and education of students, development of their interests and abilities. IN pedagogical activity The teacher cannot limit himself to the lesson. In the process of ideological, political, moral, aesthetic and labor education, he tries in every possible way to fill free time students with interesting and useful activities.

Extracurricular work on history deepens the knowledge of the eras studied in the classroom. The specific material used in extracurricular activities creates in schoolchildren living and true ideas about the life and culture of bygone times and peoples. Creative work in a subject circle enriches the inner world of students, contributes to their mental development and stimulates independent search. The correct organization of extracurricular activities at school helps to develop the curiosity of the children, can make them willing to systematically read popular science and fiction on history, and also teach them to pass on their knowledge to others. At the same time, the feeling of collectivism grows stronger among schoolchildren, because even in such a small team as a subject circle, success can be achieved only when its members are united common goal and the general desire to achieve it.

Combination various kinds extracurricular activities, complementing and enriching each other, makes the work in the historical circle exciting and active.

The planned historical evenings will feature dramatized montages based on authentic documents and historical literary works. For better perception, for greater intelligibility, the texts will be shortened and simplified. Preparation for such evenings requires special care. It is necessary to choose in advance, according to the program passed in the class, expressive material sources, read it and understand.

Organization of activities

school theater

From work experience.

primary school teacher.

Introduction………………………………………………………..3

1. Historical roots of theatrical pedagogy………………………6

2. Theater as an opportunity for any child to assert itself………..7

3. Organization of the work of the school theater (from work experience)……….9

Conclusion………………………………………………………………12

Literature…………………………………………………………………13

Applications………………………………………………………………14

Introduction.

Obviously, at the turn of the century there was a reassessment of spiritual values, norms of behavior, worldview. The socio-economic situation in the country has changed radically. But, despite the radical breakdown of social life, one thing remains unchanged - this is a person.

The educational process as a special social phenomenon acquires its vitality as a result of constant creative activity, its development and improvement, in which the potential of a person is realized. Therefore, creative activity is the basis of personality development. And it is in creative activity realizes the need to be a person.

This is especially evident in the school community - in the classroom. The main focus in educational work it is necessary to pay attention not to events, but to the implementation of the trinity - activity, communication, relationships. That is why it is important to include schoolchildren in collective creative activity, which inevitably encourages self-education, self-awareness and, consequently, the formation of adequate self-esteem by the child.

Theater classes are useful for all children, but especially for those who have a poorly formed level of self-esteem. On the basis of theatrical classes conducted in the conditions of extracurricular work, they master the ability to correctly evaluate their activities and the desire for self-development and self-education of their personality.

School theater pedagogy has a powerful potential for a holistic impact on the child, as it contributes to the development of creative and creative abilities, the formation of a dynamic type of personality, identifying itself with its native culture, accepting universal humanistic values.

The federal law“On Education” formulates the first principle of state policy in the field of education in this way: “the humanistic nature of education, the priority of universal human values, human life and health, and the free development of the individual” . This provision argues for the personal orientation of educational programs, which means the need to correct pedagogical goals and technologies implemented in each of the disciplines. curriculum. School theatrical pedagogy, acting as a tool for interdisciplinary integration, involves the development of the cultural experience of generations on the way to the direct involvement of the child in cultural activities.

School theater as a type of educational activity was widely and fruitfully used in the school practice of past eras, known as a genre from the Middle Ages to the New Age. Theater can be both a lesson and an exciting game, a means of immersion in another era and the discovery of new 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.

School theater pedagogy offers a wide range of opportunities for developing the creative abilities of a teenager, not only in the perception and understanding of art, but also in own creativity. It develops the activity of attention, observation, the ability to fantasize and, most importantly, forms a sense of personal presence in culture. In addition, and this is especially important today, the methods and techniques of school theater pedagogy contribute to interdisciplinary integration, the formation of a holistic image of the world and the person in it, that is, they significantly increase the intensity and quality of mastering the school curriculum.

Problem. Unfortunately, today the theater in educational institutions is nothing more than an extracurricular "amateur", a kind of "distraction-entertainment". And this is due to the orientation of the school to the communication of knowledge, the development of the intellect, and not the personality of a teenager in the fullness of its qualities. This leads to the formation of "technocratic thinking" of students, to the impoverishment of their imagination, the limitation of fantasy as the basis of creativity, which, in turn, is reflected in general development personality, reduces its creativity. The revival of the school theater as an active form of educational activity, development and development modern teacher methods of school theater pedagogy - necessary condition development of the humanist school.

Target: The development of creative and creative abilities, the formation of a dynamic personality, identifying himself with his native culture, accepting universal humanistic values.

Tasks:

Organize theater group from school students;

Choose a repertoire;

Teach students the skills acting skills;

Create a photo chronicle, a presentation of a collection of scripts and a video recording of theatrical performances.

How to get into this magical land named Theatre? How to connect with each other theater 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?

The theater is able to reveal and emphasize individuality, uniqueness, uniqueness human personality, regardless of where this person is - on 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.

1. Historical roots of theatrical pedagogy.

Time of Empress CatherineIIwas a time of passion for the theatre. If under Elizaveta Petrovna the theater was created in an atmosphere of fashion, attention and encouragement, then under Catherine "it matured in an atmosphere of intense and conscious work." All high society was interested in the theater, it became the rule to be interested in the theater good manners. The teaching of theatrical arts continued to be included in the curricula.

The Smolny Institute Theater is a special stage in the development of the school theater in Russia, when, outgrowing the framework of the classical school drama becomes professional while remaining within the educational space.

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 not a theater that was occupied by private, separate fragments of reality. Playwrights constantly turned to the world as a whole, explaining the structure of the universe and the meaning of human life with a word and stage gesture.

The school theater was an integral part of the cultural system of its time, expressed many of its main features, and served as the most important link between culture and education.

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 own history in domestic and foreign pedagogical thought and practice.

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."

2. Theater as an opportunity for any child to assert himself.

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.

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 solves pedagogical tasks with children, including both the student and the teacher in the process of mastering the model of the world that the school builds.

So, numerous studies of teachers and psychologists confirm the fact that the child's attitude to himself, his perception of himself, self-esteem largely determine his behavior and success in life.

Special psychological and pedagogical research last decade convincingly showed that self-esteem, self-acceptance by a child have great importance for its full development, disclosure of abilities and opportunities.

In adolescence, all the forces of the child are aimed at self-affirmation - this is where theatrical activity comes to the fore.

The theater gives an opportunity to assert itself to any child.

In the process of theatrical activity, three main tasks of education can be distinguished:

1. Raising a positive attitude towards friends, peers, classmates, adults.

2. Awakening of humanistic feelings.

3. Formation of positive ideas about yourself.

Theatrical activity effectively affects the formation of the personality in general and the adequacy of the self-assessment process in particular. A feature of theatrical activity is that it can be mass at the same time, i.e. the number of students involved in any creative process may not be limited.

What attracts children to theatrical activities?

1. Theatrical activity itself, passion for some amateur activity.

2. Democratic form of communication.

3. A way to show yourself.

4. Communication, i.e. special relationship that cannot be seen in other areas.

5. Game as a process.

A.S. Makarenko, as a result of his pedagogical activity, came to the conclusion that "there is one important method in education - the game." And in childhood play is the norm and the child should play. Theatrical activity is nothing but a game.

3.Organization of the work of the school theater (from work experience).

The most important stage in the organization of productions is preparatory. First, all together we read plays in order to select the necessary and interesting for everyone. The choice of a play gives me a wide field for observing children, their interests, their principled positions, their character traits. The joint creative activity of children gives the teacher a great opportunity to get to know the child from a side that may not be revealed in other circumstances.

When the play is chosen, the children independently assign roles, look for and invent scenery and costumes. Here the teacher must be very attentive, since the distribution of roles, as in a real theater, is a painful process. My goal, however, is different from the goals of the director. The main thing for me is to support those children who are embarrassed to offer themselves for some role, or to find at least a small, but assignment for students who currently need it. But my word is never in the nature of an order, I only give the children arguments and facts that help me direct the argument in the right direction. Discussing, entering into an argument, students get to know each other better, get the opportunity for self-expression and self-affirmation in the class team.

When our choice has been determined and the roles are distributed, the students are divided into groups (according to actions), they choose the person in charge and rehearse first themselves, then show me. During the game, the main remarks and valuable advice we receive just not from the “excellent students”. Often, many children who need constant help in the classroom are practically indispensable in organizational matters. Therefore, in my class there are no isolated and little neglected.

This activity often helps those students who experienced difficulties in their studies to show good organizational and personal abilities. Children give good advice which increases their credibility in the eyes of classmates. At the lessons of labor and fine arts, the whole class puts a lot of effort into preparing props, which greatly increases efficiency and effectiveness. Stable in my classes, work and drawing are always successful subjects for children with a quality of knowledge of 100%.

In addition, we involve parents in the performances, which is especially liked by children. After such joint work in the class, a friendly and close-knit team is formed, which can do everything. Sometimes parents are present at a common rehearsal, when we show all the actions together, i.e. on dress rehearsal. They also give advice or help us in staging. When the performance is ready, we go "for applause." The first spectators are always the students of our school. And then we go on tour. Our performances are always liked by children. So "Cinderella" on new way we showed seven times. "Journey of the Bun" - 9 times. “The Tale of the Mood”, which, by the way, we wrote ourselves together with the children on the day of psychology, we showed for 2 years, of course, in different places. With our productions, we go to all kindergartens in our city, to the center for disabled children "Solnyshko" (these children are always looking forward to our new performances). We also go to orphanages in our district (we have two of them). As always, it is pleasant and exciting to see the "burning" children's eyes at the moment when they watch our productions.

We are also frequent guests of the nursing home for the elderly. The grandparents of this institution love us very much and are always happy to meet with us. And on the Christmas holidays, we went with the students of the Russian State Social University to the apartments of the disabled with a mini-performance "Kolyada in the Yard". For which these people were very grateful and grateful to us. (Appendix 1)

With our theater, we prepare many school holidays, perform in various competitions. We are invited to city holidays. So quite recently we with our play “Equal! Attention!" performed in the city club "Metronome" at a holiday dedicated to seeing off to the Army of conscripts.

We also visit various enterprises of our city with our productions, thus establishing patronage contacts, getting acquainted with different professions.

Very often I take small theatrical performances in class to explain new material. There will always be children in the class who already know the material of the next lesson, so I take these children as actors so that they play a small play for the rest of the students to better assimilate the new material.

Conclusion.

The guys who are part of the school theater are very confident on the stage, they can speak freely and beautifully, read poetry. Often they are winners of the competition of readers of different levels (school, city, district). (Appendix 2).

Performances are not only entertainment. Such activities mean a lot for creating conditions for team building and improving psychological climate a team. Children get the skill public speaking learn to argue their position and defend it. And this, in turn, creates conditions for the successful socialization of students. different levels and abilities, because we need everyone, the abilities and desires of everyone are necessary.

For the development of learning skills, this activity is also useful, because children receive recitation skills, their speech becomes more expressive, memory, attention, and composure develop. Children learn to concentrate, to be collected. Even the preparation of props develops students: motor skills, imagination, diligence, perseverance and the ability to bring what has been started to the end are necessary in the educational process. Children see the result of their efforts, use this result, which increases the significance of their activities.

Literature

Antonova O.A. Essays on the history of theater in educational institutions

Russia ( XVII-XXI centuries) - St. Petersburg: publishing house of SPbGASE, 2004 - 12.7 pp.

1. Antonova O.A. School theater in the history of education in Russia

(XVII-XXI centuries) - St. Petersburg: publishing house of St. Petersburg State University of Economics, 2005 - 21.5 pp.

Antonova O.A. School theater in the system of culture and education // Moral and aesthetic foundations of humanitarian education: Complex curricula. - St. Petersburg: Publishing house "Asterion", 2003 g. - 0.4 p.l.

O. Bezymyanny "School Theatre", Moscow, "Rolf", 2001.

E.A. Voronova "Scenarios for holidays, KVN, quizzes", Rostov-on-Don, "Phoenix", 2004

Lapina OA School theater pedagogy - an experience of interdisciplinary synthesis.. Collection of conference materials. Series “Symposium”, issue 22. St. Petersburg:, 2002.

Kazarina N. "Encyclopedia of the holiday", Novosibirsk, "RIF plus-book", 2000.

Annex 1

Photos from performances

Appendix 2

Our achievements

Federal Law on Amendments and Additions to the Law of the Russian Federation "On Education". Accepted State Duma June 12, 1995 Article 2. Principles of state policy in the field of education. M., 1998. C.4.

Vsevolodsky-Gerngross V.N. History of theater education in Russia. - St. Petersburg: Directorate of the Imperial Theatres, 1913. P.370.

Simeon of Polotsk (secular name Samuil Gavrilovich (Emelyanovich?) Petrovsky-Sitnianovich) (1629, Polotsk - 1680, Moscow) - public and church figure. In 1637 - 1651 he studied at the Kiev-Mohyla College, in 1653 he graduated from the Vilna Jesuit College. In 1656 he accepted monasticism and became a teacher at the Polotsk fraternal school. In 1660 he first came to Moscow, read his poems in front of the royal family in the Kremlin and offered the tsar his literary "service", which was accepted. Since 1663, after moving to Moscow, he taught at the Zaikonospassky school, and then became a mentor to the royal children.

Simeon's instructions were listened to not only by Tsar Alexei Mikhailovich, but also by all his children - right up to Princess Sophia and the infant Peter I. In 1678 he organized a printing house at the court, the first published book of which was "The Primer". In 1679 he drafted a decree establishing the Slavic-Greek-Latin Academy. He became widely known as a poet, playwright, preacher, publicist, teacher, translator, who fought against the schism, and advocated the development of education and enlightenment.

One of the most cultured people of his time, Simeon became the first professional writer in Russian literature, whose name gained European fame.

In the 17th century, Simeon of Polotsk tried to create an artistic drama on the basis of the liturgical drama. literary drama This attempt proved isolated and fruitless. Simeon of Polotsk owns: the encyclopedic collection “Multicolor Vertograd”; “Rhymologion”, which includes panegyric poems and their cycles, recitations, as well as two plays - “Comedy of the Parable of prodigal son” and “About Nebuchadnezzar”; “The Rhyming Psalter” is a complete verse transcription of the Old Testament book of psalms, to the printed edition of which (1680) the Monthly Book was also added; collection of sermons "Soulful Lunch", "Soulful Supper".

By the 70s - 80s of the XVII century. refers to the emergence of school theater in Russia. There was a school theater at the Slavic-Greek-Latin Academy, in theological seminaries and schools in Lvov, Tiflis, Kyiv. The plays were written by teachers, and students staged historical tragedies, allegorical dramas close to European miracles, interludes - satirical everyday scenes in which protest against social order. Interludes of the school theater laid the foundation for the comedy genre in national dramaturgy. At the origins of the school theater was a famous political figure, playwright Simeon Polotsky.

The Russian school theater was distinguished by its topicality, the desire to respond to the urgent needs of the time. IN early XVIII V. the school theater glorified the military victories of Peter I, expressed ideas about strengthening the Russian state, the development of education.

In the XVIII century. big role The well-known public figure and writer Feofan Prokopovich (1681 - 1736) played in the life of the school theater. He wrote the play "Vladimir", which became the pinnacle of school theater drama. In the images of the pagan priests who fought with the Kyiv prince Vladimir, contemporaries easily guessed the enemies of Peter's reforms. Bringing the play closer to the present, Prokopovich used some folk theater techniques in it, especially in comic scenes.

In theological academies, in the departments of rhetoric and rhetoric, recitations, dialogues and performances were used in order to enrich the teaching methods, facilitate the understanding of complex concepts, dressing them in a figurative form. However, participation in theatrical performances was considered reasonable and useful occupation during leisure hours.

School performances by students of the School of Surgery entered the history of the Russian theater. A feature of the placement of school stages was the absence of a center that served as a model for theaters scattered in other cities, which determined their repertoire. School theaters were in Yaroslavl, Tver, Pskov, Novgorod. This placement of school stages allowed a large number of people to attend performances. A constant increase in the number of spectators was part of the tasks of the school. She strove for mass theatrical art, wanted to make the theater accessible to the population of the city and nearby villages.

The school theater in a playful, visual form introduced the seminarians to the plots sacred history and instilled in future preachers the skills of communicating with the audience

Peter was not satisfied with the school theater. Religious in content, this theater was aesthetically too intricate and complex for the average spectator. Peter, on the other hand, sought to organize a secular theater accessible to the urban masses. The theater he founded, despite the short duration of its existence, played important role in the development of Russian theatrical culture.

In the middle of the 18th century, school theaters were organized in the St. Petersburg gentry cadet corps (1749); at Moscow University (1757) and in some large provincial educational institutions.

The first tragedies and comedies by Sumarokov were performed on the stage of the theater of the Gentry Corps. In the late 40s, performances of tragedies were organized in the building, in which theater lovers from among the cadets participated.

The theater of the Orphanage was of historical importance. The foster home was established in Moscow in 1764 as a refuge for abandoned illegitimate children and was supposed to become, according to Catherine II, one of the centers for the creation of the Russian "third estate" necessary for the state. Similarly to the gentry corps, Moscow University, theological colleges and seminaries, theatrics were also taught to students Imperial Academy Arts.

Of great interest are the theatrical undertakings of A.T. Bolotov, Ignatius Theils and other figures children's theater. Moral comedies were staged in the Bolotov Theater, which were supposed to ridicule liars and braggarts and show good-natured and diligent children and “virtuous deeds”, as well as spectacularly staged plays and ballets.

The time of Empress Catherine II was a time of passion for the theater. If under Elizaveta Petrovna the theater was created in an atmosphere of fashion, attention and encouragement, then under Catherine "it matured in an atmosphere of intense and conscious work." All high society was interested in the theater, it became a rule of good form to be interested in the theater. The teaching of theatrical arts continued to be included in the curricula.

The Smolny Institute Theater is a special stage in the development of school theater in Russia, when it, outgrowing the framework of classical school drama, becomes professional, remaining within the educational space.

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 not a theater that was occupied by private, separate fragments of reality. Playwrights constantly turned to the world as a whole, explaining the structure of the universe and the meaning of human life with a word and stage gesture.

The school theater was an integral part of the cultural system of its time, expressed many of its main features, and served as the most important link between culture and education.

School theater in the system of culture of the XVII-XVIII centuries. occupied a dual position. It was not only a phenomenon of art, but also a means of education, a developed pedagogical technique, which was used in the teaching of two of the seven free arts - poetics and rhetoric.

The theater greatly facilitated the learning process, made it more accessible and interesting, introduced an element of the game into it.

Being part of the didactic program, performing the functions of religious and social education, the theater at the same time broke out of the curriculum and turned into an art phenomenon.

Such a duality of the school theater in the eyes of its spectators and creators was not a shortcoming, but a natural feature. This complex interaction of theater and life is one of the main features of the Baroque era.

School performances were closed and open. The first pursued purely educational goals. The latter were intended both for entertainment and for instructing the public. Teachers and students of the school, guests gathered at these performances. Often these were citizens who supported the educational institution financially, the parents of students.

All works staged on the school stage obeyed the rules of rhetoric. The choice of topic was determined by rhetoric. Such a stage of work on the work as the creation and understanding of the idea was specially singled out. School manuals were devoted to describing topics, listing ways to implement them and combine them.

The plays of the school theater were staged in one of the premises of the school, which could have a stage equipped according to last word theatrical technique, which was supposed to be sloping, expanding towards the viewer. It was a scene with painted scenery painted on the back and backstage. School performances were not always on special stages or in special rooms. The directors could go beyond the school, continuing the traditions of the folk medieval theater. They took out their performances under the open sky, on market and church squares, gathering crowds of spectators.

The school theater, having an extensive repertoire, attracting a large audience, at the same time was not professional theater. Throughout its history, it has been an amateur theater, where the duties of authors, directors, and actors were performed by non-professionals. All theater workers were entirely dependent on the school. The theater came from her.

The actors of the school theater were high school students, poetics and rhetoric, as well as younger ones. Typically, younger students receive minor roles or played in crowd scenes. In addition, they participated in recitations, dialogues, morality, i.e. simpler dramatic forms. Extras could be not only students of colleges, but also residents of the city where the college was located.

Word and music, image, gesture, dance were included in the theatrical structure on an equal footing and were full-fledged means of aesthetic impact on the viewer. Synthesizing, fusing painting and word, dance and music, the school theater expressed to the utmost the main features of these arts, revealing what they had in common.

Starting from its origins, on the path of its development to the present day, the school theater has experienced years of recognition and rise, periods of oblivion and decline.

About the school theater

How is a performance born? Probably in torment, because work on each performance requires self-denial, great patience, strength, time, finally, from all its participants. And at the same time, these are unusually happy moments, hours, days, weeks, months, because they are filled with creation, creativity, and what can be more beautiful than creativity? Joint creativity of a team of talented children, students of our school ...

The head of the theater group, his brain and soul is Irina Andreevna Ryabtseva, a person of rare charm and talent, an excellent actress and director, a graduate of the M. Shchepkin Theater School, an actress of the Moscow drama theater them. N.V. Gogol.

The school theater has been in existence for almost 10 years, its main cast is tenth-graders this academic year. And once upon a time, very young, very sweet and very timid boys and girls took their first steps on the school stage, created their first, unforgettable images under the strict guidance of the theater director Irina Andreevna.

Years go by... The repertoire of the school theater includes wonderful children's tales, heartfelt, exciting performances dedicated to the great holiday - Victory Day, bright, sparkling, "authentic" performances in English, according to strict critics. There are already 6 performances in English, or rather 7, starting with a small charming staging based on the works of Samuil Marshak. But what a huge work it was for the second graders! The series is completed by the classic of the theatrical scene, the famous "Mousetrap" based on the play by the "Queen of the Detective" Agatha Christie.

How does Irina Andreevna manage to choose a play, exactly one of thousands of others, whose characters ingeniously “fit” the characters, the personalities of our actors?! The reason, probably, is talent, love for children, and their work.

Over the years of the theater's existence, a team of like-minded people, enthusiastic and dedicated to the cause, has developed. And this is also the reason for the success of each, without exaggeration, premiere! It is impossible to imagine a performance without dancing, which, thanks to the choreographer of the school, Maria Dmitrievna Sorokina, organically become an integral part of the theatrical production.

The performance cannot be bright and colorful without a carefully thought-out interior, actors' costumes, music ... A huge merit in this belongs to Anastasia Vladimirovna Marsiy, one of the mothers of our talented young actors. She is the author of many great ideas who spent countless hours rehearsing!

English teacher Veronika Nikolaevna Sharapova became a part of the theatrical team, who, knowing the children from the first grade, together with Irina Andreevna, develops in them the ability to think and feel in English, create acting images, as close as possible to the original source. These plays immerse the audience in different eras and different circumstances, but they are always amazingly interesting! This is a play based on the short story by Oscar Wilde "The Canterville Ghost", a play based on the fairy tale by E.T.A. Hoffmann "The Nutcracker", "The Treasure of Pelican Island" J.B. Priestley, Ray Cooney's play "Funny Money" and, finally, the famous "The Mousetrap" by Agatha Christie. And it should be noted - many hours of work on the text gives its results - excellent communication skills of the guys - the calling card of the school theater team!

And so important team spirit, the ability to support each other, to joke when fatigue sets in! It is impossible to imagine our rehearsals without Nadezhda Borisovna Kabanova, the mother of one of our actresses, without her most delicious pies in the world!

Speaking about the success of the theater, it should be noted that it would not have been possible without the constant, multifaceted support and assistance from the school administration - Irina Petrovna Guryankina and Anfisa Lavrentievna Lesina. Thanks to them, any most insignificant and most difficult problems solved quickly and imperceptibly!

And now about the most important thing ... I would so like the life of the school theater to never end! Our favorite actors will become graduates ... New talented guys will come to replace them, who will also sincerely and selflessly love the theater and give their talent to the audience!

2018-05-24 12:35:47

Mousetrap (Mousetrap), 2018

Pioneer - an example for all the guys (2017)

year 2014

The Canterville Ghost (in Russian)

The Canterville Ghost by Oscar Wilde

Singing pig (part 1)

Singing pig (part 2)

Singing pig (part 3)

On December 12, 2012, the theater studio of the Sosny school showed the play Nutcracker in English. The performance was attended by 5B class students Nadya Shutova, Nina Kabanova, Arina Rakova, Katya Timoshina, Issa Abual, Daniil Korolev, Savva Makeev, Amin Ramazanov, Denis Fidanyan, as well as 3B class student Bilokoz Demyan. The director of the performance is the head of the theater studio Ryabtseva Irina Andreevna. Expert consultants for English language school teachers Sharapova Veronika Nikolaevna and Dergaeva Larisa Magomedovna spoke. The playbill-booklet of the performance, as well as photo and video materials are posted on our website www.site.

The performance "Moomin-troll and the Wizard's Hat" by the theater studio of the school "Sosny" took place on December 16, 2011. Artistic director Ryabtseva I.A., artists - students of grade 4b.

Gloves (2010)

Theater is the art of communication. It allows you to do a lot: to express opinions and feelings, to explain yourself, to develop your thoughts and ideas through a palette of different and sometimes ambiguous emotions. Moreover, all this wealth and all the variety of feelings and emotions is organic for a person, a theatrical production is a piece of life.

Adolescence is a difficult period in a person's life, it is a painful process of self-knowledge, self-acceptance and self-awareness as a unique personality. This is a time of rebellion and confusion of feelings, a time of making difficult decisions.

The task of everyone who works with teenagers is to know and respect the growing personality. internal conflicts did not turn a sweet, intelligent child into an inert, withdrawn, gloomy individual, who, nevertheless, is ready to explode at the slightest pressure. Theater is a way to give free rein to your feelings, thoughts, your creativity, your pride and, very importantly, also a way to win recognition and respect from peers and adults, which is so necessary at this age.

To give free rein to one's emotionality, one's anger and delight during the performance, within the limits of a given role, isn't this the best way to solve a teenager's personal problems?

The task of the school theater is to develop the personality. And not only her creative potential. To give confidence in communication, to instill communication skills outside the school team, to show ways for self-realization.

The group as a living organism, fickle and personality-colored, in the process of collective co-creation helps everyone to rise to a level above the ordinary. And in the sense acting and in the awareness of oneself as a bright individuality.

Theater is a means of socialization. It's about about a kind of "brotherhood" of actors, because everything and everything in the group is aimed at one thing: to convey to the viewer a materialized thought and feeling. The best we have. What was built in rehearsals with patience and love and what cost a lot of work.

We recreate life in painful attempts to prove that we are worthy of love. Each of our gestures and each word is in the service of feelings, Theatricalization, stage exercises serve to define and name emotions and sensations that are so difficult to pronounce in real life.

The theater gives self-confidence, that you are appreciated, loved, understood. This desire to reach the depth, to give everything as much as possible and in return to receive recognition and understanding, it is worth it to work hard and hard.

Let me give you some practical advice.

Before you start reading the script and choosing actors, in my opinion, preparatory work with the group is necessary. A few simple training games. Immediately make a reservation that there are a huge number of trainings and games. I will give only a few for an example of building an algorithm.

Where to begin? Of course, the most important thing is to create a team of like-minded people. Therefore the first:preparation and establishment of a friendly, positive, creative atmosphere

The game "Friendly shake" Everyone stands in a circle. All participants one by one (the leader should be the first) give each other a hand with the palm up, the opposite side responds with a shake and so on in a circle. When everyone has shaken hands, the leader addresses his neighbor with a few kind words. sincere words (for example: how warm your hands are or how this tie suits you, etc.), the neighbor should also say good words(compliment) to your neighbor and so on in a circle.

When the relationship is "established", you can go tothe stage of training the necessary skills

1. Concentration training.

Game in the group "Lemon"

A simple task is to stand on one leg, close your eyes and “screw into the ground” with force, sway and balance imitate squeezing juice. The task is not to lose balance and “squeeze a lemon”

Game in pair "Camera".

Look around carefully, remember all the items. Turn your back and describe everything in detail. Then switch roles.

The next step is more difficult

1. interaction training, develops flexibility and trust in a partner.

Game in pair "Mirror"

One of the participants makes a movement or gesture, his partner must accurately imitate the movement of the first in a mirror image. Then the roles change. Movements should become more complex as the partners' trust and attention grows.

Playing in a group false mirror» Starts as “Mirror”, only the partner must repeat the movement of the first and add his own. Thus, the task becomes more difficult all the time.

1. Can't do without, of course.Practice diction and intonation (and proper breathing)

Group game. Who will pronounce the tongue twister faster, who will remember the tongue twisters more, who will not make a single mistake.

Game in the group "Snowman"

The leader says a simple phrase, for example: "What a beautiful weather") the next should say this phrase and add a word or two (for example: "What a beautiful weather was yesterday ”). And so on ... Friendship wins or the one who comes up with and pronounces the longest continuation phrase.

1. Communication training.

Playing in the "Crocodile" group The player must show some phenomenon or object with gestures and facial expressions so that the participants guess what is being said.

Playing in the “Blind” group It is necessary to touch space, an object (not obvious), a person with your eyes closed, as the blind do. Then, based on your own sensations (tactile and olfactory), tell what it is or who it is.

1. Very important Cooperation and trust training

Game in a pair "There is a contact"

One of the partners gently but distinctly touches the other. The task of the second is to move from the touch strictly in accordance with the force of the touch (for example: if the partner put his hand on the shoulder, then the second should lower this shoulder accordingly) After a while, the partners change. Of course, the degree of influence can change in the process. Ideally, it should look like contact improvisation. And maybe better with music

This is an approximate algorithm for working with a theater group.