Experience of school theaters of the past and modernity. The concept of theatrical pedagogy

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Theatrical pedagogy as an innovative model of child education

Student of the Second Course of Master

faculty "Theater Art"

GBO IVV RK Cookiit

Polyakova Elena

Scientist: Associate Professor

theatrical art

candidate of Art History Uzunova L.V.

The theater is a stage action that occurs during the actor game in front of the public. From its very occurrence, the theater plays a pedagogical function. He takes his origins in ancient Greece, where all free citizens have been allowed for ideas. So that they can develop. Theater taught to find a way out of the prevailing life situations. For example, the tragedy of Eschila, Euripid mobilized the best mental qualities and moral forces in man: courage, durability, personal dignity, height of the spirit, readiness for self-sacrifice for the sublime goal, was discovered for art unique and infinite moral and aesthetic opportunities, and above all, formed in man man. The comedies of Aristofan ridiculed the unworthy of Hellen's behavior. Looking at the comedy, the Greeks laughed over greed or excessive vanity. Aristophane appeals to civil sensory and patriotic pride of the audience.

In turn, pedagogy is the science of education of a person who reveals its essence, the patterns of education and development of the personality, the process of education and training. And the theater and pedagogy arose about the same time in ancient Greece. Doesn't it seem surprising that the gods themselves suggested on the inseparable relationships of these two concepts?

Today, theatrical pedagogy is the path of personality development in the process of education and training through the game process, or a stage action. And the task of the teacher is that for each child to find such a way to communicate, which would help him become a holistic person even in this not a holistic world. If the world would be perfect. That he would long like the model Jean Jacques Rousseau (the perfect person in perfect society). As you know, this model has been subjected to doubts and distrust still Ekaterina II.All, we understand that the world is dualistic and not to go anywhere. We, teachers, educators, theatrical figures, creative people can contribute to modeling the relationships of kind and evil in a human person. We can affect the creativity in the child, in a person received a good focus. And this can be coordinated with theatrical pedagogy. We can and are obliged to use the methods of theatricalization, so as not to interrupt the process of socialization, to engage in the patriotic education of the younger, already in the new generation conditions, reorient them and help find a new culture of the new country. After all, it is necessary to remember the incomprehensible congenital predisposition of the child to the game and creativity and the amazing flexibility of the children's brain. The child needs to bring up throughout the diversity of his abilities, in contact with all its qualities immediately. Therefore, as one of the ways of development through the prism of holistic learning - see the aspect of theatrical art, or the form of theatrical pedagogy, which undoubtedly helps to choose a moral and moral landmark.

The basic principles of this science as one of the most creative in nature coincide with the cultural principles. Since the role of theatrical pedagogy is to disclose and form a developed harmonious personality student, the theater teacher seeks to construct a relationship system in such a way as to organize the available conditions for emotional manifestation, discrepancy, mutual trust and creative atmosphere.

The purpose of my reportit is that the means and methods of theatrical pedagogy as an innovative model for the education of the moral personality of the child.

In my opinion, on modern stage existswhole problem The use of theatrical pedagogy in the educational process, the lack of techniques for the use of theater technologies in social and humanitarian disciplines at different levels of development of educational material in various types of educational institutions, the problem of training qualified specialists (directors' teachers) for educational and cultural and leisure children's institutions.

And now, plunge a little in history. The founders of theatrical pedagogy in Russia were such prominent leaders of the theater as Mikhail Semenovich Shpkin, Denis Vasilyevich Davydov, theatrical director and teacher Alexander Pavlovich Lensky. A qualitatively new stage in theatrical pedagogy brought with him MCAT and primarily its founders K.S. Stanislavsky and Vladimir Ivanovich Nemirovich - Danchenko. Many actors and directors of this theater became prominent theatrical teachers. Actually, theatrical pedagogical tradition, which exists to this day in our universities, begins. All theatrical educators are known two most popular exercise collection to work with the students of acting schools. This is the famous book of Sergei Vasilyevich Hippius "The Gymnastics of the Sensities" and the book of Lydia Pavlovna Novitskaya "Training and Mushtra." Also, the wonderful work of Prince Sergei Volkonsky, Mikhail Chekhov, Peter Yershova, Mary Knebel and many others.

The traditions of the school theater in Russia were laid at the end of the XVII century. It is known that in the middle of the XVIII century, a special watch for "trading tragedies" was even given in the St. Petersburg landlock building. Pupils of the corps - the future officers of the Russian army - played the plays of domestic and foreign authors.

At the end of the 18th century, the children's home theater is born in Russia, the creator of which was the famous Russian enlightener and a talented teacher Andrei Timofeevich Bolotov. His Peru belonged to the first plays in Russia for children - "Chesatubezh", "awarded virtue", "Unfortunate orphans".

In the first half of the 19th century, theatrical student teams are widely used in gymnasiums, and not only in the metropolitan, but also in provincial. From biography N.V. Gogol, for example, it is well known that the future writer not only successfully acted on an amateur scene, but also led the theatrical productions, wrote decorations for performances.

Indeed, the synthetic nature of theatrical art is an effective and unique means of artistic and aesthetic education of students. Here the child can show himself as an artist, and as a musician, vocalist or talented organizer. And any creativity will help himself and brightly reveal the nature of the child-Creator's personality, taking into account his psychological age-related features.

And it is worth noting that today theatrical pedagogy goes beyond only children's and youthful theater teams. According to the largest domestic teacher S.T. Shacksky in the educational process it is represented by the following directions:

1. Professional art addressed to children with general cultural values \u200b\u200binherent in it. In this direction of aesthetic education, the problem of the formation and development of schoolchildren's spectator culture is solved. Theatrical Pedagogy Innovation Morality

2. Children's amateur theater existing inside school or outside it, which has a peculiar stages of the artistic and pedagogical development of children.

3. Theater as an educational subject that allows you to implement the ideas of the art complex and apply acting training in order to develop the social competence of students.

But, unfortunately, as I said, there is a problem that the theater is the only kind of art in school, which has recently been deprived of professional professionals. With the advent of theatrical classes, electives, the introduction of theatrical pedagogy in general education processes, it became clear that the school educational institution would not be able to do without a professional who knows how to work not only with children in the field of theatrical art, but also with teachers of schools in the field of theatrical pedagogy. The activity of the teacher-director is determined by its position, which is gradually evolving from the position of the teacher-organizer at the beginning and to the consultant's associate at a higher level of development of the team, presenting at each moment, a certain synthesis of different positions. And so, in permanent disputes, who should be the head of the school theater: a teacher or director, how to use theatrical processes for educational purposes, whether the use of theatrical means for the assimilation of educational materials is justified and an innovative model of educational education is born using theatrical-pedagogical technologies. In the modern model of theatrical pedagogy today you can allocate:

Reception of mental processes :

- theatrical exercises

Plot role-playing games

Movements to music, playing games on musical instruments,

Stage etudes,

Breathing exercises, articulation exercises,

Musical and rhythmic games,

Exercises for the development of facial expressions and pantomimics,

Playing the shadow theater, games - dramatization with fingers, etc.

Basic principles of theatrical pedagogy:

The principle of the correctional and compensating orientation of training and education: the construction of an educational process based on the maximum use of preserved analyzers, functions and systems of the body.

The principle of socio-adaptive orientation of training: overcoming the "social loss" and the formation of the psychological preparedness of the pupil for life in the surrounding sociocultural environment.

Theatrical technologies are trying to use not only in the work of directly children's and youthful theatrical groups, but also the process of mastering the software in different types of educational institutions. For example, elements of ethnopedagogy in the lessons of the Russian language and literature at school, the organization and conduct of the rites of the holiday "Maslenitsa" in terms of classes in "Publications", "History of Religions", "History of Culture" in colleges and universities, the reconstruction of historical events in the lessons "History "In high school, the dramatization of Russian folk fairy tales and epic. The use of means and methods of theatrical pedagogy will help educators to identify and emphasize individuality, the uniqueness and uniqueness of the human person, and regardless of where this personality is: on the stage platform or in the auditorium. In addition, the theater can be a lesson and a fascinating game, a means of immersion in another era and the discovery of new, unknown and unknown faces of modernity. Theatrical art makes it possible to assimilate not only in the theoretical aspect, but also in the practice of moral and scientific truths, teaches to be ourselves, reincarnate in the hero and reside a variety of lives, spiritual conflicts, to know the cultures and traditions of other peoples.

Thus, theatrical pedagogy as an innovative model of education of the child's child today is in the formation stage, and research in the field of modern methods and technologies of theatrical pedagogy in the educational process is not yet completed and are in the experiment in the creative activity of the teacher.

Bibliography

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

2. Hippius S.V. Acting Training - M. 1967.

3. Ershov P.M., Ershova A.P., Bukatov V.M. Communication in the lesson or director of the behavior of the teacher - M. 1993.

4. Iliev V.A. Technology of theatrical pedagogy in the formation and implementation of the design of the school lesson - M. 1993.

5. Nikitina AB. Theater, where children play: educational and methodological manual for the leaders of children's theater groups. - M.: Humanitarian Publishing Center Vlados, 2001.

6. Uzunova L.V. Ethnocultural aspects of education methods in ethnopedagogy // N.Zh. Culture of the peoples of the Black Sea region, №189 - Simferopol, 2010. - P.64-70

7. Shatsky S.T. Cheering life. // Pedagogy. Works. In 4 t. 1 - m, 1962.c 386-390.

8. Article "Theater Pedagogy K.S. Stanislavsky in modern school. " Access point: http://knowledge.allbest.ru/culture/2c0b65625b3bd79b4d43b88421306c27_0.html

Posted on Allbest.ru.

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Principles of theatrical pedagogy

A rare literature teacher did not try to play a fastener on the roles in the lesson on the roles, and we all passed through school performances to various holidays, when the main roles are going to those who can speak loudly. If this happens chaotically, if the teacher does not put any tasks, except for "time to finish the performance by March 8" or "diversify the activities of students in the lesson," then the benefits of this is not enough.

Theatrical pedagogy does not imply mandatory playback of scenes.

This is a look at the education process as a dramatic action that fascins participants at the emotional level.

Theatrical pedagogy is a practical direction of modern psychology and pedagogy art that implements the principles of events, accommodation, personal creative action and improvisation, which connects intellectual, sensual and emotional perception.

Psychologist Tatyana Klimova, Senior Lecturer of the Department of Cultural Science and Aesthetic Education Mio (this is one of the few institutions, where the various existing directions of theatrical pedagogy systematize the methodological level), tells why traditional ideas about learning how to broadcast knowledge, skills and skills in the modern world Work.

Tatyana Klimova
psychologist, Senior Lecturer Department of Cultural Science and Aesthetic Education MiO
Today, the most brilliant teacher cannot compete with the media environment. Dmitry Bykov's lectures are available on the Internet, and a rare literature teacher will be able to compete with it in terms of possession of material, in provocativeness, ingenuity, paradoxicality. The teacher should win this competitive struggle due to the fact that only he can give - due to another quality of communication. The teacher must become the organizer of the educational environment, the director who organizes this lesson's space that it becomes a dramatic interaction field.

Theatrical pedagogy (as part of the pedagogy of art) offers the creation of an open creative medium for live communication. The dialogue in this artistic and creative environment may be on any topic (from science to religion), but it will always be the formation of a holistic picture of the world, the simultaneous development of the emotional and intellectual abilities of the student.

Principle of events This means that during classes there should be something that such that the world changes for the participants. Before the event happened for you, you were a little different, I thought a little differently, acted differently. Through the experiences of events, a person develops.

Principle of residence Determines that the event cannot be the result of external conditions. It can only be the result of a personal experience, opening.

Education in theatrical pedagogy becomes territory personal creative action. In the learning process, freedom of creativity may be limited to gradually through the proposed circumstances, problems and difficulties that need to be overcome, but not through bans. In compliance with this principle, all competencies become the result of personal-significant discoveries, and not imposing the dogmas.

And finally principle of improvisation- distinctive feature of theatrical pedagogy. Before thinking, a good actor should act. Spontaneity, immediacy - quality that allows you to reveal the potential of the child, but which are often "jerking" the traditional educational system. And the teacher who himself cannot be directly, is afraid to improvise, he will not teach it another.

Tatyana Klimova
psychologist, expert on theatrical pedagogy
Theatrical pedagogy is about meaningfulness. Here, as on stage, you immediately see "I believe - I do not believe" Stanislavsky. "Fake or really exists?" - Very important for education moment. One teacher imitates training, he does not have this personal discovery at the lesson. And the other truly examines, reflects, doubts, and therefore- He teaches, and this is not a question of the number of knowledge, not memorized dates and surnames.

As theatrical pedagogy is present in schools

Toolkit that every teacher can use on their lessons

How do you go to class? How do you think the magazine roll call is the best way to intrigue students for the next 35 minutes? How do you complete the occupation? Is it true for students what you are talking about whether they have time to make a discovery for them, meaningful for them?

Theatrical pedagogy introduces into a regular school those receptions that are being worked out at acting and directorial training. They allow you to take attention, to speak beautifully, feel the dynamics of what is happening in the classroom. Help to activate passive guys and cope with excessive energy too active. Many of them are associated with a sense of time, with understanding how to organize 40 minutes of the lesson to gradually "warm up", pass the point of climax and comprehend what happened. Understanding how in different ways you can use the space in the class - to place the desks in the circle or think about the lesson so that the children move to groups from the angle in the angle - this is also associated with theatrical practice, in which there is a concept of miceanssen.

"Start from anything, just not from the lesson. You must surprise the class "

In Moscow, the interest in theatrical pedagogy is shown by whole gymnasiums and lyceums, the directors of which understand that the artistic environment has a powerful stimulating effect on children. Among them - the Class Center of Sergey Kazarnovsky, one of the first institutions of this format when the theater becomes an integral part of school life. In the Moscow chemical lyceum, the guys, future physicists and chemists, when admit, accept consent to compulsory participation in theatrical and musical circles. With a Lomonosovskaya school in Sokolniki, there are seven school theaters.

The fragment of the play "From the Bald" of the students of the school "Class Center" and the analysis of the fragment with the director of the school - director Sergey Kazarnovsky.

And such attention to the theater is no coincidence: it allows you to liberate, create something that does not leave others indifferent. And he also creates a space for informal communication, filled with universal meanings - such spaces are so few of the modern children.

Hiking in the theater.

Teachers can be "special agents" of the theater in the environment of the younger generation, which teach children to understand art and lead them to a visual hall. Therefore, another direction of theatrical pedagogy develops at the intersection of the interests of the school and the professional theater.

To any theater needs a spectator, and from some moment the theaters realized that the viewer needs to raise.

There is a fairly developed child preparation system to a meeting with art developed by theatrical and museum teachers. The essence of such a preparation lies in the ability to talk to the child about what he sees, before going to the theater, a museum or other space of art, and discuss with him his emotions and experience after.

The ability to lead a dialogue about art with a child, and for this, many theaters organize various events for general education teachers. For example, with a large Drama Theater named after Tovstonogov in St. Petersburg, two years acouted a pedagogical laboratory - a long-term project, during which the teachers of St. Petersburg schools acquainted with the theater and tools of theatrical pedagogy through a series of trainings, seminars and creative projects. Regular master classes for teachers and theatrical lessons undergo in the theater named after A.S. Pushkin in Moscow.

Psychologist, Head of Special Projects of the Moscow Dramatic Theater. A.S. Pushkin Olga Shevnina shares his experience in the preparation of schoolchildren (and not only) to the perception of theatrical performance.

Theatrical pedagogy has become a popular topic on the agenda of various theater festivals. If a large theater event is held in your city - be sure to look into the program of events, probably there are master classes for teachers from theatrical teachers. Of course, for one master class, no one will win the whole system, but feel how certain approaches work are quite possible. For deep immersion, there are advanced training courses at the Moscow Institute of Open Education and the RGPU. Herzen.

Theatrical pedagogy is not a "magic wand", which one wave solve all the problems: I found a "point of surprise" in the lesson - and immediately grew up motivation, the emotional atmosphere immediately began and the creative initiative was manifested. Miracles do not happen. But the systemic and meaningful appeal to theatrical practices, to personal improvisation, to the artistic image is able to turn the school routine into the space of intellectual and emotional discoveries.

The synthetic character of theatrical art is an effective and unique means of artistic and aesthetic education of students, thanks to which the Children's Theater occupies a significant place in the overall system of the artistic and aesthetic education of children and youth. The application in the practice of educational work of theatrical art facilitates the expansion of the overall and artistic horizon of students, a common and special culture, enriching the aesthetic feelings and the development of artistic taste. Education Art game Behavior

The founders of theatrical pedagogy were such prominent leaders of the theater as Shchepkin, Davydov, Varlamov, director Lensky. A qualitatively new stage in theatrical pedagogy brought with me MCAT and primarily its founders Stanislavsky and Nemirovich - Danchenko. Many actors and directors of this theater became prominent theatrical teachers. All theatrical educators are known two most popular exercise collection to work with the students of acting schools. This is the famous book of Sergei Vasilyevich Hippius "Gymnastics of Sensities" and the book of Lydia Pavlovna Novitskaya "Training and Mushtra." Also, the wonderful works of Prince Sergei Mikhailovich Volkonsky, Mikhail Chekhov, Gorchakov, Demidov, Christie, Toporkova, Wild, Kedrov, Zakhava, Ershov, Knebel and many others.

The democratic rise in the late 1850s-early 1860s, which caused the social and pedagogical movement for the democratization of education in the country, contributed to a significant exacerbation 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, an acute discussion on the dangers and benefits of student theaters is deployed in pedagogical printing, which began the article by N.I. Pirogova "be and seem." Public performances of the gymnasists were named in her "School of vanity and pretense". N.I. Pirogov set the question before educators: "... Does the health pedagogy allow children and young men in front of the public in more or less distorted and, therefore, not in the present form? Does the target justify the target? "

The critical attitude of the authoritative scientist and the teacher to school performances found well-known support in the pedagogical environment, including K.D. Shushinsky. Separate teachers based on the statements of N.I. Pirogov and K.D. Shushinsky, sought to even bring some "theoretical base" for the ban on students to participate in theatrical productions. It was alleged that the pronunciation of other people's words and the image of a different personality calls in the child a crust and love for lies. The critical attitude of the outstanding figures of domestic pedagogy N.I.Pirogov and K.D. Shushinsky to the participation of schoolchildren in theatrical productions was related, apparently, in the fact that in the practice of school life, a purely showing, formalized relationship of teachers to the school theater was observed.

At the same time, at the end of the XIX, the beginning of the 20th century, a conscious attitude towards theater as an important element of moral and artistic and aesthetic education is approved in the domestic pedagogy. This largely contributed to the general philosophical works of advanced domestic thinkers who attached extremely important to the problems of the formation of a creative personality, research of the psychological foundations of creativity. It was during these years in domestic science (V.M. Soloviev, N.A. Bardyaev, and others) begins to approve the idea that creativity in the various expressions is moral debt, the appointment of a person on earth is his task and a mission, That it is the creative act that takes a person from the slavish compulsory state in the world, raises it to a new understanding of being.

Important to restore the confidence of teachers and the public to the theater as an effective means of education of young people had research of psychologists who declared the presence of T.N. "Dramatic Instinct". "The dramatic instinct, which is found, judging by numerous statistical studies, in the extraordinary love of children to the theater and cinema and their passion to independently playing all sorts of roles, - wrote the famous American scholar of the hall, - is for us teachers directly opening a new power in human nature ; The benefit that can be expected from this force in a pedagogical business, if we learn how to use it, as it should be comparable, unless with those benefits, which is accompanied in the life of people a newly open power of nature. "

Sharing this opinion, N.N. Bakhtin recommended teachers and parents to purposefully develop in children "Dramatic Instinct". He believed that for children of preschool age raising in the family, the most suitable form of the theater is the puppet theater, the comic parsley theater, the Shadow Theater, the Puppet Theater. On the stage of such the theater, it is possible to formulate various places of fabulous, historical, ethnographic and domestic content. The game in such a theater is able to fill the free time of the child up to 12 years old. In this game, you can show yourself at the same time both the author of the play, stinging your favorite fairy tales, the story and plots, and the director, and the actor, playing all the actors of his play and the master of the needlewoman.

From the puppet theater, children can gradually move to the passion of the theater dramatic. With the skillful leadership by adults, it is possible with a huge benefit to develop children to use their love for a dramatic game.

Acquaintance with the publications of the pedagogical seal of the late XIX - the beginning of the 20th century, the statements of teachers and leaders of the children's theater indicate that the importance of theatrical art as the means of education of children and young people was highly assessed by the pedagogical publicity of the country.

Interested attention The issue "Theater and Children" The first All-Russian Congress on National Education, which heard a number of reports on this issue was heard in St. Petersburg in the winter of 1913-14. The resolution of the congress was noted that "the educational influence of the Children's Theater affects the whole strength only with a thoughtful appropriate formulation adapted to children's development, peace and national characteristics of this edge." "Due to the educational impact of the Children's Theater, it was also noted in the resolution - it is also a purely learning value; Dramatization of educational material is one of the most effective ways to apply the principle of visibility. "

The question of the children's and school theater was also widely discussed at the first All-Russian congress of the folk theater workers in 1916. The school section of the congress was adopted by an extensive resolution, which affected the problems of the children's, school theater and theater for children. In it, in particular, it was noted that the dramatic instinct, laid down in the very nature of children and manifested from the earliest age, should be used for educational purposes. The section found it necessary "To in kindergartens, schools, shelters, school premises in children's departments of libraries, folk homes, educational and cooperative organizations, etc., the proper place for various forms of manifestation of this instinct, respectively, the age and development of children, and It is: a device of playing a dramatic character, puppet and shadow ideas, pantomim, as well as dances and other group movements of rhythmic gymnastics, dramatization of songs, Sharad, proverbs, fables, telling fairy tales, device of historical and ethnographic processions and festivities, settings of children's plays and operas . Given the serious educational, ethical and aesthetic meaning of the school theater, the congress recommended the inclusion of children's holidays and performances in the school's activities program, the initiation of applications to the relevant departments on the allocation of special funds on the system of school performances and holidays.

Advanced teachers not only highly evaluated the possibilities of the theater as means of visual learning and consolidate knowledge gained at school lessons, but also actively used a variety of means of theatrical art in the daily practice of educational work.

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

Interesting and instructive experience of education by means of theatrical art of pedagogically launched children and adolescents, accumulated by the largest teacher S.T. Shatsky. Children's theatrical settings of the teacher viewed as an important means of cohesion of a children's team, moral re-education of "Children of Streets", their admission to the values \u200b\u200bof culture.

Nowadays, large social changes, the problem of intellectual and spiritual employment of young people is extremely acute. Vacuum is filled with antisocial preferences and inclinations. The main barrier on the path of criminalizing the youth environment is active spiritual work that meets the interests of this age. And here, the school theater, armed by the techniques of theatrical pedagogy, becomes the club space where the unique educational situation is. Through a powerful theatrical remedy - an empathic training theater combines children and adults at the level of shared joint residence, which becomes an effective means of influence on the educational and educational process. This training theater club has a particularly important impact on "children from the street", offering them informal, frank and serious communication on topical social and moral problems, thereby creating a protective social and healthy cultural environment.

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

1. Vocational art addressed to children with general cultural values \u200b\u200binherent in him. In this direction of aesthetic education, the problem of the formation and development of schoolchildren's spectator culture is solved.
2. Children's amateur theater existing inside school or outside it, which has a peculiar stages of the artistic and pedagogical development of children. Amateur School Theater is one of the forms of additional education. The heads of school theaters create copyright programs and the tasks of servicing the young viewer are created. Both first and second is a substantial scientific and methodological problem.
3. Theater as a training subject that allows you to implement the ideas of the art complex and apply acting training in order to develop the social competence of students.

Artistic creativity, including acting skills, originally and brightly reveals the nature of the child-creator.

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

Theatrical pedagogy, the purpose of which is to form expressive behavior skills, is used in the training and retraining of teachers. Such preparation makes it possible to significantly change the usual school lesson, transform its educational and educational goals, and ensure the active cognitive position of each student.

Speaking about the system of additional education, it should be noted that in addition to scientific relations, the artistic process of the educational process should be considered as an important principle of pedagogy. And in this sense, the school theater can become the unifying club space of non-formal socio-cultural communication of children and adults on the means of perception of a distinctive artistic phenomenon.

It is worth remembering that the flourishing of ancient Eldla is largely obliged to the ritual of joint residence in the city of the Great Dramaturgia of their tribesmen during performances, in the preparation and conduct of which almost the entire city was occupied. The development of educational material through accommodation makes knowledge of convictions. Empathy is the most important upbringing tool.

The big problem has recently arose in connection with the commercialization of children's creativity, including acting. The desire for a stepwise result is destructive on the pedagogical process. Operation of external data, natural emotionality, age charm destroys the process of becoming a future artist, leads to devaluation of its values.

It must be remembered that the theatrical and educational process, by virtue of its unique synthetic gaming nature, is the most powerful means of education precisely through the accommodation of spiritual cultural samples of humanity.

In this regard, it should be noted that in recent years, a socio-game style has been widespread in theatrical pedagogy. "Socio-game style in pedagogy" received such a name in 1988. He was born at the junction of humanistic directions in theatrical pedagogy and pedagogy of cooperation, which is rooted in popular pedagogy.

The urgent need for social change in society was aged many teachers in search of a new level of democratization and humanization of the pedagogical process.

I carefully undergoed the spirit of democratic spirit from the people's pedagogy, the growth of the training process and, enriching the basis of practical exercises from theatrical pedagogy, based on the method of K. S. Stanislavsky and "Theory of Action" P.M. Ershova, socio-game style allows you to comprehend in a new way, first of all, the role of the teacher in the educational process. The leading role of the teacher has long been determined and entered into practice as one of the main didactic principles. But, each historical time involves his level of democracy of the Lada process between people and the new understanding of the role of the leader and, in particular, the teacher. Each sovereign person in the time required for a common cause is responsible and consciously finds its place in the general process of doing - it is probably possible to determine the new level of Lada, to which the pedagogy of cooperation and, in particular, theatrical pedagogy. This does not cross the principle of another Lada level "do as me," but implies a wider sphere of manifestations of independence of the student and, above all, his rights to the error. It is important to establish equality between the student and the teacher. A teacher who has or allowing himself the right to make a mistake, this removes the fear of the student's independent act, who is afraid to be mistaken or "bark." After all, the teacher constantly wakes to demonstrate its skill, correctness and infallibility. In this sense, at each lesson, he trains himself more, honing his ability and all with a large "glitter" demonstrating it in front of the "illiterate and very inept children." Error for such a teacher is equal to loss of prestructive. On the infallibility of the leader and fear, it is losing its authoritarian pedagogy and any authoritarian system. For theatrical pedagogy, first of all, it is important to change this position of the teacher, i.e. Remove fear from him and disciples before an error.

The first stage of the development of theatrical pedagogy in his dominant pursues exactly this chain - to give the opportunity to "be in the skin" of the student and from the inside to see what happens to those we teach, look at yourself from the outside. Is it easy to hear the task, can a teacher know how to hear the teacher and, above all his colleagues? It turns out that most teachers are much worse than "inept and illiterate children." In front of the teachers' students, the task is to work on an equal footing with their colleagues, and not to demonstrate its accumulated skill "to plunge all the mouth", or to smoke in the corner.

Pedagogues often lack patience to allow children to "play", "do something." Seeing the "error", the teacher immediately strive to eliminate it with its extensive and not demanded by clarifications or the "brilliant" suggestion. So the fear of "how they did not do" hits the hands, as a result of which students cease to create and become performers of other people's ideas and ideas. The pedagogical desire "more often and more to cause good" is, often, only the subconscious desire to declare its significance, while children themselves can figure out mistakes that send them search. But the teacher wants to constantly prove its importance, the need and right to love and reverence.

Theatrical pedagogy offers to see the importance of the search for the search process itself, the organization of a problem situation-activity in which children, communicating with each other, will open a new one through a taskful game, samples and errors. Often the children themselves organize such search and creative activity can not and are grateful to a person who organized the holiday-communication for them. But the holiday will not take place if the "host of the house" is in poor well-being. Equality of the teacher and children not only in the right to error, but also in adequate interest. An adult should also be an interesting game, he is the most active fan for the success of the game. But his role in it is organizational, "to win" him once. The organizer of the holiday is always in troubles about "products", "fuel" for interesting mental activities of children.

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

The teacher must be perfectly owning the substantive material of the subject, which will give him confidence in behavior and the speed in its gaming methodological transformation of the material in the game task form. He needs to master the receptions of the directorial and pedagogical challenge. This means to be able to transfer the educational material into gaming problem tasks. Distribute the content of the lesson in the semantic logically interconnected episodes. Open the main problem of educational material and translate it into a consistent row 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 possess a big arsenal of game moves and constantly accumulate them. Then you can hope for improvisation during the lesson, without which the lesson will be stensely dead.

It is important to develop a range of management of your behavior in communication. Send the acting pedagogical skill, master the diverse technique of influences. It is necessary to own its bodily mobilization and be an example of business purposefulness. Such a joyful, despite mistakes and failures, well-being. Any positional conflicts arising in academic work seek to neutralize their business approach without entering off. To be able to dispose of the initiative by regulating the voltage of the strength and the distribution of the working functions of the participants in the process. To do this, in full use of perseverance levers: various (starting from the whisper) voice volume, its height, different speed of movement in class and speaking, extension and completion, change of various verbal influences. In any case, seek to detect the friendship of the interests of students and the teacher. Moreover, it is not to declare it, but to find it in fact, without replacing it with the pedagogical pharyy of universal love and the need to acquire knowledge. Always strive to proceed from the real proposed circumstances, of how it really is, and not how it should be. Destroy the double moral bacillus when everyone knows and make, as it is, and they say how accepted.

Develop and strengthen the Union of Equal Participants in the Teaching Game Process The following gaming rules:

1. The principle of improvisation. "Here, today, now!". Be prepared for improvisation in tasks and conditions of its implementation. Be prepared for miscalculations and victories as your and students. Overcoming all obstacles to meet as an excellent opportunity for live communication with each other. To see the essence of their growth at the moments of misunderstanding, difficulty, the question.
2. Do not "chew" each task. The principle of the deficit of information or silence. "I did not understand" in children is often associated with the process of understanding itself. It may be just a defense - "I don't want to work, pulling time", the desire to draw attention to the teacher and the school habit of "fucking" - the teacher is obliged to "all settle and put in the mouth." Here comments are needed business, the most pressing, giving the initial installation to joint activities and communicate children with each other. It is necessary to give the opportunity to clarify the peers in fact the incomprehensible question. This does not mean to write off, what our children have long been accustomed to, it means legalize mutual assistance. Such clarification is also useful for those for others more than multiple clarification of the teacher.
3. Even if the task is not really understood by the children, but they do something, do not rush to interrupt and clarify the "correct" option. Often, the "incorrect" task execution opens up new possibilities for its application, a new modification that would have never guessed before. Perhaps here is more expensive than the activity of children, and not the correctness of the task conditions. It is important that there constantly existed the possibility of training in search of solving a problem and independence in overcoming obstacles. This is the principle of priority of student self-education.
4. Often the teacher is experiencing acute negative emotions in a collision with the refusal of children to perform the task. He "suffered, worked, invented at night" and brought the children "Gift" for which the natural remuneration is waiting for a joyful adoption and incarnation. And they do not like, and they do not want "Demian's ears." And immediately there is a resentment on the "refusal", and, in the end, the conclusion "yes, they don't need anything! ..". So there are two entry camps of students and teachers, hatchers, excellent students and "difficult". Difficult - these are those who cannot or do not want to please in front of the teacher. Principle of the priority of the student: "The viewer is always right!" The council here is to restructure its overall position in relation to failure. If you try to see the prompt for yourself, the real "feedback", which teachers dream of, then this is perceived as a response gift from the child. First, he showed his independence, the independence that you were going to educate in it. 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 an adequacy of the task of the level of need.
5. One of the central techniques is the work on the task of small groups. It is here, in the situation of complementary and constant change of role-playing functions, all the techniques and skills and the ability to create a common way in joint work work effectively. The change of role-playing functions is being developed (student teacher, leader-slave, complementary), since the group groups are constantly changing. There is an objective need to include each member of the group, as to keep the answer for the group can fall on any of the participants in the lot. This is the principle of business, not ambitions. "Today you play Hamlet, and tomorrow the participant of the mass amess."
6. The principle "Do not judge ..." is being worked out in the ability to "judge" the work of another group on the case, and not for personal sympathies and claims that are poured into mutual insults and pain. To avoid such "disassembling" to the teacher, it is necessary to establish business, specific criteria for assigning tasks. For example: Have you managed or did not have time to meet at the set time? All or not all members of the group were busy in a response demonstration? Do you agree or disagree with the answer? Such unambiguous, not concerning the estimates "like - do not like, badly - well," the criteria are controlled primarily, first of all, the organizational framework of the task. In the future, studying the criteria for estimates, students teach to track and mark objective, and not the taste of the phenomenon. This allows you to relieve the sharpness of the problem of encryption collision in collective work and more constructively keeps accounting for the mastered material.

Periodically, giving the role of "judges" to students, the teacher expands the scope of their independence and receives an objective assessment of its activities: what he learned his pupils really, and not by his ideas. In this case, the phrases will not save "I spoke a hundred times! ..". The sooner the real fruits of activity are visible, the more time and chances are still something to change.

7. The principle of compliance of the content of the work of a certain external form, i.e. Misaneszen. Miceancing decision 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 a job. It is also to enjoy space for his assignment and comfortable well-being in it. This is the search for the place of the teacher in each particular situation different. It does not matter to serve some external order, and the order should change depending on the needs of the case.
8. The principle of problematization. The teacher formulates a task as a certain contradiction, which leads students to the experience of the state of intellectual impasse, and immerses in a problem situation. Problem situation (problem-task, situation-position) There is a contradiction of the circle of proposed circumstances with the needs of an individual or group of individuals inside this closed circle. Therefore, the problem situation is a psychological model of the conditions for the cause of thinking based on the situational dominant of cognitive needs. The problem situation characterizes the interaction of the subject and its environment. Personality interaction and objective contradictory medium. For example, the inability to perform theoretical or practical task with the help of previously learned knowledge and skills. This leads to the need to arma with new knowledge. It is necessary to find a certain unknown, which would allow to resolve the resulting contradiction. Objecting or the defining of this unknown occurs in the form of a question specified by itself. This is the initial link of mental activity connecting the object and the subject. In training activities, such a question is asked as a teacher and addressed to the student. But it is important that the student itself gains the ability to generate issues such. In search of a response to the question of new knowledge and the development of the subject or living the path to the generation of knowledge occurs. In this sense, the problem situation is primary and one of the central concepts of theatrical pedagogy and in particular the socio-game learning style. Problem learning is organized by the teacher a way to interact a student with a problematic presented content of the subject. Knowledge obtained in this way are experienced as a subjective discovery, understanding - as personal value. This allows you to develop the educational motivation of the student, his interest in the subject. In training, by creating a problem situation, the conditions for research and development of creative thinking are simulated. The means of managing the process of thinking in problem learning are problematic issues that indicate a creature of the educational problem and on the search for unknown knowledge. Problem learning is implemented both in the content of the subject of study and in the process of its development. The content is implemented by the development of a system of problems reflecting the main content of the subject.

The process of study is organized by the condition of the equal dialogue of the teacher and the student, and the students with each other, where they are interested in judging each other, since everyone is interested in resolving the problem situation in which everyone fell. It is important to collect all solutions and allocate fundamentally effective. Here, with the help of a system of educational problems, due to problematic situations, subject research activities and the norms of social organization of the dialogical communication of the research participants are simulated, which is essentially the basis of theatrical pedagogy of the rehearsal process and learning, which allows to develop the thinking abilities of students and their socialization.

The main means of testing any assumption is an experienced verification confirming the evidence of the facts. In theatrical pedagogy, it may be a staging or etude, a thought experiment or analogy. Then necessarily a discussion process of evidence or justification.

Under the scenination is understood as the educational and pedagogical process of creating an acting experiment-etude plan and its embodiment. This means building a circle of the proposed circumstances of the situation, setting the goals and objectives of its participants and the implementation of these goals in the stage cooperation, certain means available to the characteristics of history. Unlike a professional acting etude, in a general education situation, it is important not acting skills in itself, but his ways to assign the situation. This is the process of creative imagination and mental excuses of the proposed circumstances and an effective experiment-etude to verify the problem of solving the problem. It can also be a solution to the solution by improvisation in the proposed circumstances.

Pupils, losing an etude experiment, practically visited the situation under study and checked on their vital experience of assumptions and behaviors and solving problems in such a situation. Moreover, educational and educational etudes can be designed both fully reconstructing the necessary situation and situations like, similar in fact, but different in shape, which may be more close and familiar to the disciples. The etude method, as a method for studying a situation or a certain content, implies the formulation of the problem and the task of solving it, the creation of a list of game conflict rules of behavior (which is possible and what can not), which create a gaming problem situation. In this case, the main stage is precisely the analysis. In the analysis, the specified framework of the rules of the game with those that were actually happening, i.e. The purity of the experiment is estimated. If the rules are observed, the results obtained are reliable.

In a discussion analysis of compliance with the rules, both student-performers and observers studies, which initially imposes the role of controllers. It is this three-time competitive process of interpretation of information by the information lived in an etude observed and control, allows students to get into a reflective position, which effectively moves the process of generating new knowledge. It does not matter how the executive students played in the point of view of acting technician likelihood, it is important that the observer students saw in this. And they are able to see in a simplicity of this part of the comrades for the mass of new ideas and solutions to the problem of which performers and do not realize or did not plunge. Even before the perception of the subject we are full of meaning about it, because we have a life experience. These are these "views from different sides," recall our favorite parable and elephant again, and allow participants to enrich each other with the new parts of the truth through the objective and reflective relationship, striving for its integrity. Reflex in this case is understood as a mutual display of subjects and their activities on six, at least, positions:

- the rules of the game, what they are in this material are control;
- Artist, how he sees himself, and what he did;
- the performer and what he performed, as seen by observers;
- And the same three positions, but by the other entity.

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

So modern theatrical pedagogy is comprehensively suited to the training of the entire spectrum of the sensory abilities of children, at the same time there is a work of competence in creating Lada interpersonal communication, the sphere of independent creative-thinking activities is expanding, which creates comfortable and, which is important, the natural conditions for the doctrine-communication process. The techniques of theatrical pedagogy decide not only the special training problems of theatrical education, but also allow them to be used to apply them and when solving general education problems.

O. A. Antonova

Gaming Education Space: School Theater Pedagogy

The article proposes a new interdisciplinary direction - school theater pedagogy; The prospects for its development are analyzed; The stages of the inclusion of the theater in the educational space of the school are considered.

School theatrical pedagogy is an interdisciplinary direction, the appearance 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 generate the need for

personality capable of adequate cultural self-identification, to the free selection of its own position, to active self-realization and cultural and agencies.

It is at school that the personality identity occurs, the culture of feelings, the ability to communicate, mastering his own body, voice, plastic expressiveness of movements is formed, a sense of measure and taste needed 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 human personal abilities.

The processes of modernization of the domestic education system take into account the relevance of the transition from an extensive method of simply increasing the number of information included in educational programs, to find intensive approaches to its organization.

More clearly in the philosophical and cultural literature is aware of the need to build a new type school that meets the needs of society in a cultural personality capable of free and responsibly choose its place in this contradictory, conflict, dynamically changing world. Apparently, we are talking about the formation of a new pedagogical paradigm, new thinking and creativity in the educational sphere. A school of "cultural" type, building a single and holistic educational process as the path of the child in culture1.

The basic principles of cultural pedagogy coincide with the principles of theatrical as one of the most creative in nature. After all, the goal of theatrical pedagogy - the liberation of the psychophysical apparatus

ka actor. Theatrical teachers build a relationship system in such a way as to organize "the maximum conditions for creating extremely free emotional contact, discrepancy, mutual trust and creative atmosphere" 2.

In the theatrical pedagogy there are common patterns of the process of learning a creative person who purposefully and productively use in order to educate the creative personality as students and future school teachers.

What does the term "school theatrical pedagogy" include? Being part of the theater pedagogy and existing in its laws, it pursues other purposes. If the goal of theatrical pedagogy is the professional training of actors and directors, then school theatrical pedagogy is aimed at raising the personality of the student and student with the means of theatrical art.

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

School theater pedagogy suggests:

The creation of a performance is not as a goal, but as a means of forming an emotionally sensual sphere of a student and a student;

The inclusion of the theater lessons in the school educational process;

Training specialists for the work of theater's lessons at school;

Training of students of pedagogical universities the basics of directorial skills;

Training school teachers based on director's skills.

Each of these blocks, in our opinion, is an extremely fertile ground for researchers, theorists and practitioners: teachers, psychologists, directories, theatersmen, etc.

In modern pedagogy, the possibilities of the school theater is difficult to overestimate. This type of learning activity is known as the genre and is widely and fruitfully used in the school practice of past eras - from the Middle Ages to the New Time. The school theater contributed to the solution of a number of educational tasks: learning a live speech; acquisition of famous freedom in circulation; "Accustomed to speak to society as speakers, preachers." The school theater was theater and case theater and only along the way with this - theater of pleasure and entertainment.

In Russia, the traditions of the school theater began to develop in the first half of the XVII century in the schools, which created the "fraternity" who spent the national original culture, language, literature and household literature.

In the 20s of the XVIII century, a school theater emerged in St. Petersburg, at the School of Fefan Prokopovich, who writes about the meaning of the theater at school with its strict rules of behavior and the harsh regime of the boarding school: "Comedy delays the young man's livelihood and concluding a captive similar" 3.

In the middle of the XVIII century (1749), a school theater is organized in the St. Petersburg Shuttle Cadet Corps.

The first tragedies and comedies of Sumarokov were performed on the scene of the theater of the Slyham Corps. At the end of the 40s, the presences of tragedies were organized in the housing, in which lovers of the Cadet Theater participated. First

only in the Cadet Theater performed French tragedies in French. The performances were arranged not only in the walls of the case. They played the cadets and in the opera house for the yard. In 1749, Kadeti was played by the tragedy of "Korev". From the beginning of 1750, by order of the Empress, Elizabeth Cadets begin to perform the plays of Sumaros at the court.

The repertoire of the Cadet Theater expanded. At the end of 1750, and at the beginning of 1751, the Tamir and Selim tragedy was held at the beginning of 1751. Elizabeth was passionated by the ideas of the Cadet Theater. "The Empress itself, apparently, engaged in this troupe ..., writes in his" notes "Catherine II. "She didn't bother to look at the presentation of these tragedies at all, she also cared for costumes of actors.".

In 1783, schoolchildren of the Cadet Slope Corps organized the festival, in which there were an upstream of the triumphal column, and allegorical figures, and living paintings.

"The new breed of people free from the cruel moral morals of the Company" 4, dreamed of growing Ekaterina II, and the theater played a huge role in the upbringing of Smolnya-Nok and future artists at the Academy of the Three Calcificent Arts. The teaching of theatrical art was still introduced into training programs.

Stage art was taught not only in the Slyhamny building, spiritual colleges and seminaries, but also students of the Imperial Academy of Arts. The initiative in this case belongs to the disciples themselves: in 1764 they turned to the authorities asking them to play comedy and tragedy. In response to this I. I. Betskaya wrote in the order: "To disappear the thoughts of students during the idleness of boredom, causing disgusts and for

invalicate them to the most prolonged pranks: at the request of them to play comedy and tragedy at the Academy of Arts, which for the sake of a small theater to order to do in a convenient place. "

No less jealously promoted the theater Society of Noble and Meshchansky Maiden at the Novodevichy Smolny Monastery (subsequently a Smolny Institute).

The performances in Smolny began with the fact that on November 28, 1770, on the occasion of the arrival of the King of Prussian, Prince Henry, during the court, Masquerade was given, in which up to 3,600 people participated. Following the first performance at the end of 1771, Smolnyanka played at the monastery the tragedy of Voltaire Zaire.

The delight of the performance of Smolnyanka was called by a whole series of circumstances. First, the role of an enthusiastic and sentimental direction of the minds, which characterizes the XVIII century; Then, by itself, interest in the fate of the Smolny Theater was heated by the arrangement of the empress. Further, modern love for the theater played a huge role; And finally, the "flower garden" of young girls, besides, still trained in various sciences, was new and, of course, hit the imagination.

"According to justice, it is necessary to be surprised," the eyewitness says, - naturally in the pronunciation of speeches and in the televizations of the acting persons who have been satisfied for them to be satisfied so absolutely as if it had been the main one for several years. Exercise "(St. Petersburg Vedomosti, 1775, November 30).

Similar feedback gives another eyewitness: "They played, sang and danced,

He writes, - with such art, which can be apparently apparently in glorious actresses, singer and dancers "(Spectator of Light, 1775, December. P. 74).

In the 1960s of the XIX century, when the reform wave seized all the spheres of Russian life, not excluding both pedagogy, the question of the school theater was relevant again. The problem of school performance worried a pedagogical thought; There were various approaches to his repertoire, its functions were discussed, doubts were discussed in the benefits of the theater, up to its full denial.

The overwhelming majority of teachers and theatrical workers were unanimous in their opinion on the important meaning of the theater in the formation and education of young people, both in the walls of educational institutions and beyond. Their activity convincingly testified to the possibility of combining pedagogical requirements and aesthetic tasks.

Pedagogical practice, ahead of the theoretical thought, showed that not only possible, but it is useful to allow children and young men to play in a public scene. Only a stage game should remain truthful, sincere, helping the young man "be", and not "seem."

Much attention was paid to the problems of school theaters, the first All-Russian congress of scenic figures held in Moscow in 1897 was given to the problems of school theaters. In the report of N. I. Timkovsky, it is said that the upbringing prepares a little man to the perception of genuine artistic values, because "the School of Art slippers smuggling, frighteningly and even smaller than himself ... that the people are wisdom. .. going into life, pounce on the cartoon game, gossip, drunkenness or feed on the vulgar fakes under

cleaning, shouting from a serious theater? "5.

In the second congress of the scenic figures (March 1901), a word was not uttered about the school theater.

For the development of the theater in the educational institutions of Russia, the second half of the XIX century is characteristic, firstly, the fact that the performances were not an end in itself, but a means of education of students, and, secondly, on a small stage without any luxury and a mushroom shine, without imitating a professional theater Sincere and serious, training actions were created.

The spears of the professional theater also said about the meaning of the school theater, along with teachers. So, for example, A. N. Ostrovsky in his note on amateur performances noted much benefit of the performances of the classical repertoire in educational institutions. They are given "not for development in young acting artists ... In such ideas, stage art is not a goal, but a pedagogical agent:

classic Languages, Classic Lithuania

rature. "

The work in the history of theatrical pedagogy is occupied by the work of Nikolai Nikolayevich Bakhtin, whom contemporaries called an encyclopedist in school theater issues. Here are just some problems that worried him:

The role of the children's theater in the educational process;

Educational value of the school theater;

Specifics of school performances;

School theater repertoire;

The need to "build schools are not

otherwise, as with the auditorium. "

Art-pedagogical journal in ten rooms in 1910 publishes Articles N. N. Bakhtin, dedicated to

repertoor of children's performances. In 1912, the "RUSSIAN SCHOOL" appears "Overview of the Pieces for the Children's and School Theater" 9, and in 1914 in the artistic pedagogical journal - "Review of the children's opera" 10.

All fruitful activities of N. N. Bakhtin in the field of aesthetic and moral education of children by theater by means of theater is still waiting for their in-depth study.

The figures of the Russian theater and pedagogy came to the conclusion about the need to introduce art into the school curriculum and training in teachers' pedagogical educational institutions who could carry out this task. The first All-Russian Congress of the People's Theater, which took place in Moscow from December 27, 1915 to January 5, 1916 was given a lot of attention. In a specially created congress of the School Theater section, three reports were heard and discussed and seven posts from the places were made, decisions were made on many creative and organizational issues.

In the first years of Soviet power, interest in the school theater does not fade. In the spring of 1918, the Theatrical Division of the Narkomplek in Petrograd organized a permanent bureau, and then the periodically convened the Council of the Children's Theater and the Children's Festival, which included both theatrical figures and educational teachers. It was the first state body engaged in questions of the Children's Theater.

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

The theater can be a lesson, and a fascinating game, a means of immersion in another era and opening unknown

the faces of modernity. He helps to assimilate the moral and scientific truths in the practice of dialogue, teaches to be ourselves and "others", reincarnate in the hero and live a lot of lives, spiritual conflicts, dramatic character tests.

Creative group, which includes teachers of universities (RGPU. Herzen, Faculty of human philosophy; St. Petersburg State Academy of Theater Art; Russian Institute of Art History), Heads of School Theaters, Professional Actors and Directories developed the project of the St. Petersburg Center "Theater and School ", The purpose of which is:

The interaction of the theater and school, implemented by organic inclusion of theatrical activity in the educational process of school schools;

The inclusion in the creative process of children and teachers, the formation of school theatrical groups and their repertoire, taking into account the age characteristics of the participants, as well as the content of the educational process;

The interaction of professional theaters with schools, the development of theater subscriptions focused on the learning process.

The uniqueness of the project is that for the first time an attempt is made to unite the efforts of all creative organizations and individuals engaged in school theater creativity.

School theatrical pedagogy today turns out to be close interest, while the pedagogical search is conducted in various directions and with a different measure of success.

In modern processes related to the formation of school theatrical pedagogy, you can allocate several

independent areas, which are presented in Russian schools:

1. Schools with theatrical classes.

Theatrical lessons are included in the schedule of individual classes, for a class is always located in each school, which is predisposed to theatrical activity. It is these classes that often have the basis of a school theater team. Usually this work lead teachers-humanitarian.

2. Schools with theatrical atmosphere, where the theater is a subject of universal 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.

3. The most common form of the existence of the theater in the modern school is a dramatic circle that simulates the theater as an independent artistic organism: they are involved in elected, talented children interested in theater. His repertoire is arbitrarily and is dictated by the taste of the head. Being an interesting and useful form of extracurricular work, the dramatic circle is limited in its capabilities and does not have a significant impact on the organization of educational work as a whole.

4. Children's theaters out of school represent an independent problem, but their methodological finds can be successfully used in the school process.

5. It is especially worth noting schools where the theater is included in the number of profiling artistic disciplines.

Separate schools managed to attract a large group of professionals, and the "Theater" lesson is included in the training schedule of all classes. Indicatively, in this respect, the experience of secondary school No. 174 of the Central District of St. Pe-

terburg, on the basis of which the experimental program "Theater Pedagogy in School" 11 has been developed.

In other schools, the theater lessons were introduced either in primary classes, or from 1 to 7 classes.

Childhood and youth need not only and not so much in the model of the theater, as in the model of peace and life. It is in the "parameters" of such a model, the young man can most fully realize and test himself as a person.

"Connecting such thin and most complex phenomena as the theater and childhood, it is necessary to strive for their harmony" 12. This can be done, building with children is not "theater" and not "team", but a lifestyle, model of the world. In this sense, the task of the school theater coincides with the idea of \u200b\u200borganizing the integral educational space of the school as a cultural world, where he, the school theater turns out to be a universal pedagogical agent. In this world, the theater with a new force implements its raising functions, with all the fullness affecting the person, becoming an artistic and aesthetic educational action, showing its uniqueness and depth, beauty and paradoxicity.

It becomes "theatrical" and pedagogy: its techniques for the game, fantasy, romanticization and poetry - to all that it is characteristic of the theater, on the one hand, and childhood - on the other. In such a context, theatrical work with children solves actually pedagogical tasks, including a student, and teachers in the process of mastering the model of the world, which the school builds.

In this sense, the model of the cultory school developed at the Department of Aesthetics and Ethics of the RGPU is of particular interest. A. I. Herzen. Here the concept focused on the formation of the identity of

benka, respectively, the idea of \u200b\u200bthe correlation of onto and phylogenesis13. And then the school theater is deployed as a technique for the introduction of a child into world culture, which is accomplished in the age stages and implies the problematic and targeted integration of the disciplines of natural science, socio-nitrical and artistic and aesthetic cycles. The work of the school theater here can be considered as a universal way to integrate.

The School Theater appears as a form of educational artistic and aesthetic activities, recreating the living world, having a child. And if in the role-playing game whose name theater, the goal and result is an artistic image, then the purpose of the school theater is essentially different. It consists in modeling the educational space to be developed. Based on the idea of \u200b\u200bthe differences in the educational world in the age stages of the formation of a person, it is important to determine the specifics of the school theater at these steps, respectively, building the method of theatrical-pedagogical work.

Starting this work, the school team should clearly understand the possibilities and place of the school theater in a particular, this school, with its own traditions and methods of organizing the educational process. Then it is necessary to choose and build available and possible forms: lesson, studio, optional. It seems necessary for us to combine these three forms.

The developing function of the theater has specific features of manifestation depending on the age of the child and the nature of its theatrical and creative passion.

The first stage of teaching the theater (junior classes) is associated with theatrical classes of children in lessons and

class work. Especially promising is the introduction of the Interest School of Integral Lecture "Theater". It can be called differently: "The start of the theater," Theater Games "(more modest than" acting skills "or" scenic movement ").

At the first stage, the theater is to master the syncretic world of fairy tales, focused on understanding the language of culture and nature. In the younger school age, when we are dealing with the relevance of the kinetic forms of perception and development of the world, the syncreticity of world-upsion, when the child does not share a living and non-living, waving, "allying" things and phenomena of reality, the game is the most important (if not the only one!) Method understanding the world. The child perceives the world to the whole complex of its abilities: sensual, rational, emotional, associative. All receptors are active. For this period, the language dominant is characterized, training in crop languages: speech, gesture, facial expressions, plastic, fine art language and music. "The syncretism of the worldview is correlated with the game theatrical activity" 14. Here you can play everything: to animate the elements (fire, water, land); present the world of animals and plants; play alphabet and even multiplication table; Become a hero of a fairy tale or myth.

For middle age, an experimental impetus is characterized, the development of speech and analytical thinking, interest in "we" more than to "I". Not repeating and not duplicated, but updating and adjusting, specifying and animating educational material, the theater emphasizes the imagination, analytical abilities, verbal-plasticities of children. At this age, when the synctyptic of the worldview is broken in favor of the active formation of the conceptual

thinking, the school theater works in creating culture images, historically replacing each other's paintings of the world.

In the senior (youthful) age, the problems of self-consciousness, the relationship of the relationship in the system "I and the world" are relevant. There is a need to obtain a holistic idea of \u200b\u200bthe world and feeling in it. The task of theatrical creativity coincides with the youth searching itself, providing a full-fledged and adequate connection with the world and with himself in this world. Compositions on moral topics (good and evil, love, memory, poetry, etc.) are relevant here; Topics of citizenship and legal culture. And, of course, appeal to the classic and modern dramatic material. In high school, theatrical training is built on the interaction of all components of the system: in-depth work in literature lessons, optional "Fundamentals of theatrical Culture", finally, school theater studio.

So, the inclusion of the theater's art in the educational process of the school is not only the good desire of enthusiasts, but the actual need for the development of the modern education system, which moves from the episodic presence of the theater at school to systemic modeling of its educational function. There is no doubt that in the first steps of the school in this direction theater can be a means of improving the effectiveness of pedagogical efforts and results.

However, it is necessary to take into account that we offer not "saturate" the system of theatrical education at school by all possible forms and methods, but to provide a school selection depending on the experience and passion of teacher and students.

Problems of professional and methodical training of teachers of the school theater. Modern reform processes in education, the obvious tendency of Russian schools to independent pedagogical creativity and, in connection with this, the actualization of the school theater problems give rise to the need for training the teacher-director. Such frames, however, until recently they have not prepared anywhere.

Note that "in the pre-revolutionary years in Russia, teaching in real schools and gymnasiums was allowed to specialists from any profession that passed pedagogical courses" 15.

Known interesting foreign experience in this area. So, for example, in Hungary, children's theater groups are usually organized on the basis of the school and have a professional leader (every third team) or teacher who has been trained in special theatrical courses.

Theatrical specialization of people from 17 to 68 years old who want to work with children is carried out in a number of US public colleges. Similar undertakings take place in Lithuania and Estonia.

The urgent need to formulate theatrical work with children on a serious professional framework does not question the priority of pedagogical purposes. And even more importantly, it is important to preserve that the noble enthusiasts-nonprofessees, teachers-subjects are looking for and find in children's theater work.

Pedagog director is a special problem of modern school. The theater was the only art in school, devoid of professional leadership. With the appearance of theatrical

classes, Optional, with the introduction of theatrical pedagogy in general education processes, it became apparent that the school would not be able to do without a professional who knows how to work with children, as it has long been realized in relation to other types of art.

The activities of the teacher-director is determined by its position that develops from the position of the teacher-organizer to the consultant's associate at a high level of development of the team, representing a certain synthesis of different positions at every moment. In constantly pending disputes, who should be a teacher or director, in our opinion, there is no antithesis. Every one-sidedness, whether it is an exorbitant passion for staged finds to the detriment of the maintenance of normal educational work or, on the contrary, ignoring the creative tasks of the team, when in common conversations and similar one on other rehearsals the spark of creativity will inevitably lead to aesthetic and moral contradictions.

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

On the basis of the Aesthetics Department and Ethics of the RGPU. A. I. Herzen developed a new professional educational profile "School Theater Pedagogy", which will be preparing a teacher who can organize educational theatrical and gaming action at school and optimize the development of values \u200b\u200bof domestic and world culture.

Notes

1 Valitskaya A. P. Education in Russia: a selection strategy. St. Petersburg., 1998.

Stanislavsky K.S. About the art of the theater. M., 1982.

Vsevolodsky-Gerzross V.N. History of the Russian Theater. L.; M., 1977. P. 299.

4 there. Pp. 27.

5 Proceedings of the First All-Russian Congress of Stages. Petersburg, 1898. Ch. 2. P. 2279-282.

6 Ostrovskpy A. N. Poln. Cathedral cit. T. 16. M., 1953. P. 108.

7 Bakhtnn. N. About Children's Theater // Russian School. 1913. No. 9. P. 51-63.

8 Bakhtin N. N. Repertoire of children's performances // Art-pedagogical magazine. 1910. № 5, 8, 12, 14-17.

9 Bakhtin N. N. Overview of the Pieces for the Children's and School Theater // Russian School. St. Petersburg., 1912. No. 3. P. 36-38.

10 Bakhtin N. N. Review of children's operas // Art and pedagogical journal. 1914. No. 22. P. 3309-313.

11 Serdakov E. G. Next Lesson - Theater! // Children's Theater is serious! St. Petersburg., 2002. P. 84-86.

12 Sazonov E. Yu. Theater of our children. M., 1988.

13 Valitskaya A. P. Education in Russia: a strategy of choice. St. Petersburg., 1998.

14 Vygotsky L. S. Imagination and creativity in childhood. St. Petersburg., 1997.

15 Vsevolodsky-Gerzross V. N. The history of theatrical education in Russia. St. Petersburg., 1913.

School Theater Pedagogy

A New Interdisciplinary Trend Is Proposed: School Theater Pedagogy, Its Development and Stages of Introducing Theater In The Educational Space of The School Are Analyzed.

The synthetic character of theatrical art is an effective and unique means of artistic and aesthetic education of students, thanks to which the Children's Theater occupies a significant place in the overall system of the artistic and aesthetic education of children and youth. The preparation of school theatrical performances, as a rule, becomes an act of collective creativity not only young actors, but also vocalists, artists, musicians, illuminators, organizers and teachers.

The application in the practice of educational work of theatrical art facilitates the expansion of the overall and artistic horizon of students, a common and special culture, enriching the aesthetic feelings and the development of artistic taste.

The founders of theatrical pedagogy in Russia were such prominent theater figures like Schepkin, Davydov, Varlamov, director Lensky. A qualitatively new stage in theatrical pedagogy brought with me MCAT and primarily its founders Stanislavsky and Nemirovich - Danchenko. Many actors and directors of this theater became prominent theatrical teachers. Actually, theatrical pedagogical tradition, which exists to this day in our universities, begins. All theatrical educators are known two most popular exercise collection to work with the students of acting schools. This is the famous book of Sergei Vasilyevich Hippius "The Gymnastics of the Sensities" and the book of Lydia Pavlovna Novitskaya "Training and Mushtra". Also, the wonderful works of Prince Sergei Mikhailovich Volkonsky, Mikhail Chekhov, Gorchakov, Demidov, Christie, Toporkova, Wild, Kedrov, Zakhava, Ershov, Knebel and many others.

Ascertaining the crisis of modern theater education, the lack of new theatrical pedagogical leaders and new ideas, and as a result of this, the lack of qualified pedagogical personnel in children's theater amateurs, it is worth more carefully to the heritage, which is accumulated by the Russian theater school and in particular the school theater. and children's theater pedagogy.

The traditions of the school theater in Russia were laid in late XVII - early XVIII century. In the middle of the XVIII century, in the St. Petersburg landlocked housing, for example, a special watch for "tragedy training" was even assigned. Pupils of the corps - the future officers of the Russian army - played the plays of domestic and foreign authors. In the Shchaytsky case, such outstanding actors and theatrical teachers of their time, like Ivan Dmitrevsky, Alexey Popov, Brothers Grigory and Fyodor Volkov.

Theatrical performances were an important part of the academic life of the Smolny Institute of Noble Maiden. Moscow University and Noble University Pension. Tsarskostsky lyceum and other elite educational institutions in Russia.

In the last third of the XVIII century, the children's home theater is emerging in Russia, the creator of which was the famous Russian enlightener and a talented teacher A.T. Bolotov. His Peru belonged to the first plays in Russia for children - "Chesatubezh", "awarded virtue", "Unfortunate orphans".

The democratic rise in the late 1850s-early 1860s, which caused the social and pedagogical movement for the democratization of education in the country, contributed to a significant exacerbation 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, an acute discussion on the dangers and benefits of student theaters is deployed in pedagogical printing, which began the article by N.I. Pirogova "be and seem." The public performances of the gymnasists were named in her "School of vanity and pretendation". N.I. Pirogov set the question to the teachers: "... Does the health pedagogy allow children and young people before the public in more or less distorted and, therefore, not in the present form? Does the target justify the target? ".

The critical attitude of the outstanding figures of domestic pedagogy N.I.Pirogov and K.D. Shushinsky to the participation of schoolchildren in theatrical productions was related, apparently, in the fact that in the practice of school life, a purely showing, formalized relationship of teachers to the school theater was observed.

Important to restore the confidence of teachers and the public to the theater as an effective means of education of young people had research of psychologists who declared the presence of T.N. "Dramatic instinct". "Dramatic instinct, which is found, judging by numerous statistical studies, in the extraordinary love of children to the theater and cinema and their passion to independently playing all sorts of roles, - wrote a well-known American scholar of the hall, - is for us teachers directly opening a new power in human nature ; The benefit that can be expected from this force in the pedagogical business, if we learn how to use it, as it should be comparable, unless with those benefits, which is accompanied in the life of people a newly open power of nature. "

Divided this opinion, N.N. Bakhtin recommended to teachers and parents purposefully develop in the children "dramatic instinct". He believed that for children of preschool age raising in the family, the most suitable form of the theater is the Puppet Theater "Comic Parsley Theater, Shadow Theater, Puppet Theater. On the stage of such the theater there is a formulation of various plain, historical, ethnographic and domestic plasters. Play Such the theater is able to fill the free time of the child until the age of 12. In this game, you can show yourself at the same time both the author of the play, stating your favorite fairy tales, stories, and the director, and actor, playing all the actors of your play and the master. Needleman.

Interested attention The problem "Theater and Children" paid the first All-Russian Congress on the issues of public education in St. Petersburg in the winter of 1913-14, on which a number of reports on this issue were heard. The resolution of the congress was noted that "the educational influence of the Children's Theater affects the whole strength only with a thoughtful appropriate formulation adapted to children's development, peace and national characteristics of this edge." "In connection with the educational impact of the Children's Theater, it was also noted in the resolution, it is also a purely learning value; Dramatization of educational material is one of the most effective ways to apply the principle of visibility. "

The question of the children's and school theater was also widely discussed at the first All-Russian congress of the folk theater workers in 1916. The school section of the congress was adopted by an extensive resolution, which affected the problems of the children's, school theater and theater for children. In it, in particular, it was noted that the dramatic instinct, laid down in the very nature of children and manifested from the earliest age, should be used for educational purposes. The section found it necessary "so that in kindergartens, schools, shelters, school premises in children's departments, folk homes, educational and cooperative organizations, etc., the proper place was given to various forms of manifestation of this instinct, respectively, the age and development of children, and It is: a device for playing a dramatic character, doll and shadow ideas, pantomim, as well as rounds and other group movements of rhythmic gymnastics, dramatization of songs, Sharad, proverbs, fables, telling fairy tales, a device of historical and ethnographic processions and festivities, settings of children's play and operas " . Given the serious educational, ethical and aesthetic meaning of the school theater, the congress recommended the inclusion of children's holidays and performances in the school's activities program, the initiation of applications to the relevant departments on the allocation of special funds on the system of school performances and holidays. When building school buildings, it was noted in resolution, it is necessary to pay attention to the suitability of premises for the performance of performances. The congress was spoken of the need to convene the All-Russian Congress on the problems of the Children's Theater.

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

The experience of education of theatrical art of pedagogically launched children and adolescents, accustomed to the largest domestic teacher S.T. Shatsky, is also interesting and instructive. Children's theatrical settings of the teacher considered as an important means of cohesion of a children's team, moral re-education of "children of the street", their attachment to cultural values.

Theatrical pedagogy and its specificity

The theater is the scenic dei? Proven in the process of the game act? Ra before the public. Pedagogy is the science of the education of a person who reveals its essence, the patterns of education and personal development, the process of education and training.

Theatrical pedagogy is the path of personality development in the process of education and training through the game process, or the scenic dei? The company, where individual development comes from freedom of choice through responsibility to the joy of self-expression.

Goals and objectives:

Creating a condition? For comprehensive and harmonious Development Detection?, Disclosure of their appointment? and abuse?;

Detaling? to musical art and the development of interest in vocal - theatrical skill;

Raising the level of spectators? and performers? culture;

Education of the artistic taste and admission to modern forms of musical art;

Disclosure of creative? Deta personality? Through theatrical forms of self-expression.