In the composition of the drama, cause-and-effect relationships and motivations play an extremely important role. The specificity of the compositional structure of the scenario of a theatrical performance lies in the fact that here, instead of a causal relationship, the unity of action is created at the expense of other means, in a special way. This does not mean, of course, that the causal relationship is completely excluded from the structure of the theatrical performance script. As in a separate cycle of action (be it an episode, number or documentary fact), and in the whole scenario, several lines of causality can exist and, as a rule, take place; but they must necessarily develop towards a single, common goal, because the general concept is ultimately the main thing in the script for a theatrical performance (as in any kind of art.

DM Genkin in his work “Mass Holidays” says the following about composition: “The composition determines the internal structure of the work, the logic of proving the idea inherent in it, which is very important for the director of a mass celebration. Composition is the organization of the action, and hence the appropriate arrangement of the material. If the plot gives rise to action, then the composition determines its logic, tempo, rhythm, that is, brings into action a clear organization, disciplines it. "

Let's consider the main units of the composition of scenarios for leisure mass events.

The dramatic curve is characterized by the following elements: exposure (initial situation), setting, conflict development (main action, development of action), culmination, denouement (event), finale (epilogue).

When building the scenario of a theatrical performance, the author should pay special attention to four most important elements, called in practice: the introduction (exposure), the development of the action, the moment of permission (culmination) and the ending.

The first moment in the development of the action is called the exposure or exhibition of the action. The exposition introduces us to the circumstances, event, characters, etc. the exposition introduces us to the rules of the stage game. Without reading them, viewers will not be able to sympathize or hate, analyze, reflect. This means that the participation of the audience and the audience will not take place - such an important artistic and pedagogical process.

An exposition (from the Latin "expositio" - "presentation", "explanation") is a part of a dramatic work, which characterizes the situation preceding the beginning of the action. Its task is to present all the proposed circumstances of the dramatic work. Even the title of the play itself serves to a certain extent as an exposition. In addition, the task of the exposition, in addition to the presentation of the entire prehistory of the play, includes the exposure of the action. Depending on the intention, the exposition can be: direct (special monologue); indirect (disclosure of circumstances in the course of action);

Also, the role of the exposition may be showing the events that happened long before the main action of the play (see "Guilty Without Guilt" by AN Ostrovsky). The purpose of this part of the composition is to convey information necessary to understand the upcoming action, a message about the country, time, place of action, a description of some events that preceded the beginning of the play and had an impact on it. A story about the main alignment of forces, about their grouping towards conflict, about the system of relationships and the interconnection of characters in a given situation, about the context in which everything must be perceived. The most common type of exhibition is showing the last segment of life, the course of which is interrupted by the emergence of a conflict.

The exposition contains an event that takes place at the beginning of the play. It is with him that the initial situation begins, which gives impetus to the movement of the entire play. This event is usually called the initial one. It contributes not only to the identification of the plot fundamental principle, but also effectively prepares the plot. The set and the exposition are inextricably linked elements of a single, initial stage of the play, which forms the source of the dramatic action. Do not think that the original event constitutes the exposure - this is not true. In addition to him, there may also be several more events and various facts. Note that our consideration concerns the dramatic exposition, but there is also a theatrical exposition. Its task is to introduce the viewer into the world of the upcoming performance. In this case, the very location of the auditorium, lighting, scenography, and more. others related to the theater, but not to the play, will be a kind of exposition.

Exposition - acquaintance of the viewer with the characters, time and place of action. The action in the exposition can develop gradually, unhurriedly, or it can be dynamic and active. The exposition sets in motion a short story about the events leading up to the conflict that caused it.

Since an action is a reflection of only a certain, artificially limited part of a real life action, then one of the primary tasks of the playwright is the task, it is true, to determine the initial situation - as the primary basis of the collision, from which the conflict should unfold.

By reproducing the initial situation, the director-scriptwriter thereby exposes (literally - exposes, shows) the beginning of the action. Exposure methods are varied. They can be divided into two main types:

Direct exposure - when the viewer is introduced to the course of previously committed events, to acquaint with the actors, it is decided straightforwardly.

Indirect exposure - when the director enters the necessary exposure data along the way.

The role of the exposition is intended to give a picture of the living environment in which the struggle unfolds, and - in close connection with the environment - an analysis of the characters entering the struggle.

Exposition is the arrangement and presentation of the parties that create a kind of "critical mass", as a result of which a reaction begins, that is, active interaction between these parties with the release of psychophysical energy affecting the audience. The exposition effectively prepares the plot, that is, it usually develops into a plot in scripts.

The tie is the most important element of the composition. Events that violate the initial situation are located here. Therefore, in this part of the composition is the beginning of the main conflict, here it takes on its visible outlines and unfolds as a struggle of characters, as an action. As a rule, two opposing points of view, different interests, worldviews, ways of existence collide. And they do not just collide, but are tied into one conflict knot, the resolution of which is the goal of the play. It can even be said that the development of the action of the play is the resolution of the set.

Regarding what to consider as the beginning of an action, Hegel noted that “in empirical reality, every action has a lot of prerequisites, so that it is difficult to establish where the real beginning should be sought. But since the dramatic action is essentially based on a certain collision, the corresponding starting point will be in the situation from which this conflict should develop in the future. " It is this situation that we call a tie-in.

The outset is the emergence and beginning of interaction between the parties that created the initial situation, that is, the emergence and beginning of the development of the conflict.

The tie gives impetus to the further conduct of the characters. She is the beginning of contradictions that begin the development of events in the work. The plot realizes the conflicting possibilities inherent and more or less perceptibly developed in the exposition.

The exposition and setting should be extremely clear and concise. They carry a great psychological load, as they focus the viewer's attention, prepare him for the perception of the action, and tune in a certain way. Poetic headpieces, scenes from plays, fragments from films, songs, theatrical processions can act as an exposition-strings.

Consequently, the exposition and the setting are inextricably merged elements of a single initial stage of the script, form the source of the theatrical action.

The next part of the composition is the main action (the development of the conflict, the development of the action), that is, the image of the process of struggle and its vicissitudes, the chain of events and collisions in which the conflict is resolved. This is the most difficult stage in building a script, drama. It covers the main body of action. One fight leads another, the scales tilt in one direction or the other, new forces are brought into battle, insurmountable obstacles arise, gradually exacerbating and increasing the degree of conflict.

In the course of the development of the action, all the connections and contradictions between people laid down by the author in the work become apparent, human characters are revealed, the personality of each character is formed. If the plot leads to an understanding of the problem posed, then the development of the action gives an idea of ​​possible ways to solve it.

Each of the "cycles of action", which can be distinguished with different degrees of distinctness in the works of any playwright or screenwriter, should mark a higher stage of the development of the conflict in comparison with the previous stage, exacerbate contradictions up to the last stage - the denouement. That is, the action in the script develops in an ascending order, the tension increases as the action develops.

The development of action in scenarios must obey the following basic requirements, which have both art history and psychological and pedagogical significance:

Strict consistency in the construction of the theme. Each episode of the script should be logically conditioned, connected by semantic bridges with the previous and the next.

The escalation of action. The action, set by the exposure and the setting, develops along an ascending line, to a climax and a denouement. You can't go from emotionally strong episodes to weak episodes.

Completeness of every single episode. The script always consists of episodes. Each of them has an internal logic of construction and must be completed before the next begins. In miniature, each episode should repeat the entire script, have all the components, a complete composition.

Construction contrast. This requirement is specific to the composition of a mass theatrical performance, which synthesizes a complex of expressive means and should not allow abuse of this or that paint, monotony, monotony.

Consequently, a constructively unified action in the script is built from a set of "action cycles", which has all the signs of a dramatic composition: each of the episodes has its own exposition, setting, culmination and denouement.

The compositional structure of the theatrical performance, completed within itself, is, in essence, divided into a number of action cycles. The drama, as you know, consists of several such cycles, the name of which has changed historically: act, action, part. In the scenario of a theatrical performance, most often one-part, these thematically homogeneous cycles are usually called episodes. Each episode in the theater script breaks down into even smaller, relatively complete structures.

The development of action is the most extensive part of the play, its main field of action and development. Almost the entire plot of the play is located here. This part consists of certain episodes, which many authors divide into acts, scenes, phenomena, actions. The number of acts is in principle not limited, but, as a rule, ranges from 3 to 5.

It should be noted that finding the culmination in the development of the action is another structural element of the composition. It is independent and functionally different from the development of an action. That is why we define it as an independent (in function) element.

The scenario of the theatrical performance consists of episodes, each of them has an internal logic of construction and must necessarily end before another episode begins.

An episode in a script is a structural unit, or dramatic module, of a theatrical performance, which is a separate and dramatically integral fragment of the latter. An episode is an artistic embodiment of one of the facets, one of the aspects of a particular problem of theatrical performance. The development of a conflict through stage action within an episode follows the law of a dramatic curve.

The episodic construction of the scenario of theatrical performances is borrowed from theatrical drama. The principle of episodic construction dates back to Shakespeare's theater. The constructive elements of any work of drama consist of many links, in each of which separate dramatic problems are solved.

The fact that the script of theatrical performances borrows from the theater is precisely an episodic, and no other principle of construction, is by no means a formal device. It is conditioned by the content of artistic and pedagogical influence. Knowing that the script consists of episodes, we can already say that the movement of the author's dramatic logic goes from one episode to another.

A block of episodes is a collection of episodes united by one stage task. In any scenario of a theatrical performance, episodes are distinguished that thematically gravitate towards each other and form relatively independent groups on this basis.

Because each episode contains different aspects of the overall conflict, because the relationship between the episodes in the block is conflicting. This is what allows us to consider the facets of the author's concept from several sides. As a rule, the author's concept has several aspects. The number of blocks in the script should be exactly the number of aspects. Relations between the blocks are also built according to the laws of conflict.

Consistently developing, the action brings us to the culmination.

The culmination - by the general definition, is the summit of the development of the play's action. In every play there is a certain milestone, which marks a decisive turn in the course of events, after which the very nature of the struggle changes. The denouement begins to approach rapidly, It is this moment that is usually called - the culmination. The culmination is based on the central event, which is a radical turning point in the play, in favor of one or another party involved in the conflict. In terms of its structure, the culmination, as an element of the composition, can be complex, that is, it can consist of several scenes.

The climax (from the Latin "culmen" - "summit") is an event in which the action reaches its highest tension, where the essence of the characters is fully clarified and the action begins to move towards the denouement. This is a line that sharpens the nature of the developing contradictions, this is a line that sharply turns the fate of the heroes and participants in the festive action.

The action must necessarily be brought to a climax. At the moment of culmination, the idea of ​​a theatrical script work finds the most concentrated expression. For example, the scenario of a ceremonial meeting dedicated to the Great Victory Day, which is widespread today. The culmination of this rally is the introduction of the younger generation to the respect of those who defended us, to remember them and not forget about those terrible events of the 40s. It necessarily includes the laying of flowers, thereby paying tribute to the memory of those who did not return from the war.

Despite the seeming archaism, this definition most deeply and accurately expresses the essence of the climax. Only by understanding the inner conditioning of the ideological and compositional structure of the work, one can unmistakably find the culmination moment, the turning point in the development of the action.

The architectonics of the climax can be quite complex; the climax can consist of several scenes. Attempts to theoretically establish its place in each individual case are determined by the style and genre of the work, but above all by the semantic task. Only one thing is invariable - the aesthetic essence of the climax, which marks a turning point in the course of the struggle.

In the development of the action of each work, there is a line that marks a decisive upheaval, after which the nature of the struggle changes and the denouement, the finale, uncontrollably approaches.

Decoupling - an event that marks the disappearance, resolution of the conflict, when one of the conflicting parties ceases to exist, or becomes adequate to the other side. She plays an important role in the ideological and artistic concept of the play. The denouement helps the viewer to finally determine the essence of what is happening, contributes to the disclosure of the author's intention, reveals the ideological and moral pathos of the drama. The denouement completes the author's thought, puts an end to the action.

Denouement - here the main (plot) action of the play traditionally ends. The main content of this part of the composition is the resolution of the main conflict, the termination of collateral conflicts and other contradictions that constitute and complement the action of the play. The denouement is logically connected with the tie. The distance from one to the other is the plot area. It is here that the end-to-end action of the play ends and the heroes come to this or that result, as they say in the theory of Sanskrit drama - "finding fruit", but it is not always sweet. In European tragedy, this is the moment of the death of a hero

Final (epilogue) - a result that allows you to comprehend everything that happened and summarize the author's idea

The denouement is a very important part of the composition, its absence or vagueness leaves a feeling of incompleteness of the theatrical performance. The final carries a special semantic load, since it is the most favorable moment for the manifestation of the activity of the participants in the theatrical performance.

Epilogue - (epilogos) - part of the composition that produces the semantic completion of the work as a whole (and not the storyline). The epilogue can be considered a kind of afterword, a summary in which the author sums up the semantic results of the play. In drama, it can be expressed in the form of a scene ending the play, following the denouement. Not only the content, style, form, but also its very purpose changed in the history of the drama. In antiquity, an epilogue was an appeal of the chorus to the viewer, which commented on the events that had taken place and explained the author's intention. In the Renaissance, the epilogue acts as an appeal to the viewer in the form of a monologue, containing the author's interpretation of events, summarizing the idea of ​​the play. In the drama of Classicism - a request to treat the actors and the author favorably. In the realistic drama of the 19th century, the epilogue takes on the features of an additional scene, revealing the laws that determine the fate of the heroes. Very often, therefore, the epilogue depicted the life of the heroes, many years later. In the twentieth century, there is polyphony in the understanding and use of the epilogue. He often appears at the beginning of the play, and in the course of the play it is explained how the heroes came to such an ending. Chekhov was constantly busy with the question of the "original" ending of the play. He wrote: “I have an interesting plot for a comedy, but I haven’t come up with an end yet. Whoever will invent new ends for plays will invent a new era! Dastardly ends are not given! A hero, either marry or shoot yourself, there is no other way out. "

Volkenstein, on the contrary, believed that “an epilogue is usually a statistical stage position: a sign of the author’s ineptitude to give an exhaustive resolution of the“ dramatic struggle ”in the last act. A very controversial definition, but still not devoid of its meaning. Indeed, some playwrights overuse the epilogue to express not so much their ideas, but the completion of the action. How important the problem of the finale of the play and the epilogue that follows from the entire content of the play is emphasized by the following opinion. “The problem of the last act is first of all an ideological problem and only then a technological one. It is in the last act, as a rule, that the resolution of the dramatic conflict is given, therefore, it is here that the ideological position of the dramatic writer most actively and definitely declares itself. "

Part 1. Conflicts between students.

It is in the general education school that the foundations of human behavior in the future in pre-conflict and conflict situations are laid.

To engage in the prevention of conflicts, it is necessary to have at least a general idea of ​​how they arise, develop and end in school collectives, what are their characteristics and causes.

As with any social institution, the general education school is characterized by a variety of conflicts. Pedagogical activity is aimed at the purposeful formation of the personality, its goal is to transfer certain social experience to schoolchildren, to more fully master this experience. Therefore, it is in the school that it is necessary to create favorable social and psychological conditions that provide mental comfort to the teacher, student and parents.

Features of conflicts between schoolchildren.

In an educational institution, four main subjects of activity can be distinguished: student, teacher, parents and administrator. Depending on which subjects interact, conflicts are subdivided into the following types: student-student; student teacher; pupil-parents; student administrator; teacher-teacher; parent teacher; teacher-administrator; parents-whether-parents; parent-administrator; administrator-administrator.

Conflicts in adolescence are characteristic of all times and peoples, whether it is a bursa in the works of N. Pomyalovsky or the aristocratic school of the 19th century described by R. Kipling, or a group of boys who found themselves without adults on a desert island, from the book "Lord of the Flies" by the English writer U Golding.

As noted in the review of school conflicts prepared by A.I. Shipilov, the most common among students leadership conflicts, which reflects the struggle of two or three leaders and their groups for the championship in the class. In the middle classes, there are often conflicts between the group of boys and the group of girls. There may be a conflict between three or four adolescents with the whole class or a conflict confrontation between one student and the class. According to the observations of psychologists (O. Sitkovskaya, O. Mikhailova), the path to leadership, especially among adolescents, is associated with a demonstration of superiority, cynicism, cruelty, and ruthlessness. Childhood cruelty is a well-known phenomenon. One of the paradoxes of world pedagogy is that a child, to a greater extent than an adult, is prone to a sense of herd, prone to unmotivated cruelty and persecution of his own kind.

The genesis of aggressive behavior of schoolchildren is associated with defects in the socialization of the individual. Thus, a positive relationship was found between the number of aggressive actions in preschoolers and the frequency of their punishment used by their parents (R. Sire). In addition, it was confirmed that conflict boys were brought up, as a rule, by parents who used physical violence against them (A. Bandura). Therefore, a number of researchers consider punishment as a model of conflict behavior of an individual (L. Javinen, S. Larsens).

In the early stages of socialization, aggression can also arise by chance, but if the goal is successfully achieved in an aggressive way, there may be a desire to re-use aggression to get out of various difficult situations.... In the presence of an appropriate personal basis, it is not aggression as a method of achievement that becomes important, but aggression as an end in itself; it becomes an independent motive of behavior, causing hostility towards others with a low level of self-control.

In addition, the conflicts of a teenager in relations with classmates are due to the peculiarity of age - the formation of moral and ethical criteria for evaluating a peer and the related requirements for his behavior (V. Lozotseva).

It should be noted that school conflicts studied by teachers, psychologists, sociologists and representatives of other sciences is clearly insufficient, therefore there is no holistic understanding of their causes and characteristics. This is evidenced by the fact that so far there are practically no works intended for teachers and principals, which would contain clear and proven recommendations for the prevention and constructive resolution of interpersonal conflicts at school. But in order to manage conflicts, like any other phenomenon, you must first thoroughly study them in order to understand the driving forces behind their development. However, certain efforts in this direction have already been made and are being made.

Of all the types of conflicts in school collectives, the most thoroughly studied are the clashes between teacher and student. To a lesser extent, conflicts in the relationship of students have been investigated. There is even less work on the problem of regulating conflicts between teachers. This is understandable: the conflicts between teachers are the most difficult.

In pedagogical conflictology, the main factors that determine the features of conflicts between students have already been identified.

First, the specificity of conflicts between schoolchildren is determined by developmental psychology. The age of students has a significant impact, both on the causes of conflicts, and on the characteristics of their development and methods of completion.

Age- a definite, qualitatively unique, time-limited stage of an individual's development. The following main age periods can be distinguished: infancy (up to 1 year), early childhood (1-3 years), preschool age (3 years - 6-7 years), primary school age (6-7 - 10-11 years), adolescence (10-11 - 15 years old), senior school age (15-18 years old), late adolescence (18-23 years old), mature age (up to 60 years old), elderly (up to 75 years old), senile (over 75 years old).

It is known that during schooling there is a stage of the most intensive human development. School covers a significant part of childhood, all adolescence and early adolescence. Conflicts in schoolchildren are markedly different from conflicts in adults. The conflicts occurring in primary, lower secondary and secondary schools also have significant differences. The main conflict-generating factor that determines the features of conflicts between students is the process of students' socialization. Socialization is a process and result of assimilation and active reproduction by an individual of social experience, manifested in communication and activity. The socialization of schoolchildren occurs naturally in everyday life and activities, as well as purposefully - as a result of pedagogical influence on students at school. One of the methods and manifestations of socialization among schoolchildren is interpersonal conflict.... In the course of conflicts with others, a child, a young man, a girl realizes how it is possible and how not to act in relation to peers, teachers, and parents.

Second, the specifics of conflicts between schoolchildren are determined by the nature of their activities at school, the main content of which is study. In psychology A.V. Petrovsky developed the concept of activity mediation of interpersonal relations. He emphasizes the determining influence of the content, goals and values ​​of joint activities on the system of interpersonal relations in a group and a team. Interpersonal relationships in student and pedagogical collectives differ markedly from relations in collectives and groups of other types. These differences are largely due to the specifics of the pedagogical process in a general education school.

Third, the specificity of conflicts between students in rural schools in modern conditions is determined by the external way of life in the countryside, by the socio-economic situation that has developed in rural areas today. The rural school is an integral and important structural element of the rural society. It affects life in the village. But the situation in the village in general and in a particular village in particular has a significant impact on the state of affairs in the rural school. Relationships and conflicts in the collectives of rural schools, respectively, reflect all the main contradictions and problems with which life in the countryside is saturated today. By interacting with parents, students learn about the main difficulties faced by adults. One way or another, schoolchildren are aware of many problems of rural life, experience them in their own way, transform these problems into relationships with peers and teachers.

Research conducted under the direction of V.I. Zhuravlev in schools of the Moscow region, made it possible to identify some features of local conflicts and related phenomena in the relationship of students.

Student-student conflicts arise in such situations:

• because of insults, gossip, envy, denunciations - 11%;
• due to lack of mutual understanding - 7%;
• in connection with the struggle for leadership - 7%;
• because of the opposition of the personality of the student to the team - 7%;
• in connection with social work - 6%;
• for girls - because of a guy - 5%.

11% believe that there were no conflicts among students, 61% of schoolchildren felt a feeling of hatred towards classmates.

These data indicate that in the relationship of classmates at school, not all is well.

The main reasons for peer hatred are:

• meanness and betrayal - 30%;
• sycophancy, the existence of "phony" excellent students and teachers' favorites - 27%;
• personal resentment - 15%;
• lies and arrogance - 12%;
• rivalry between classmates - 9%.

Conflictness of students is significantly influenced by their individual psychological characteristics, in particular aggressiveness. The presence of aggressive students in the class increases the likelihood of conflicts not only with their participation, but also without them - between other members of the classroom. The opinions of schoolchildren about the causes of aggression and the emergence of conflicts are as follows:

• reason for aggression: desire to stand out among peers - 12%;
• source of aggression: heartlessness and cruelty of adults - 11%;
• everything depends on the relationship in the class - 9.5%;
• the family is to blame for the aggressiveness of the student - 8%;
• aggressive schoolchildren - children with mental disabilities - 4%;
• aggressiveness is an age-related phenomenon associated with an excess of energy - 1%;
• aggressiveness is a bad character trait - 1%;
• there were aggressive students in the class - 12%;
• there were no aggressive students in the class - 34.5%.

Conflicts between students at school arise, including because of misconduct, violations of generally accepted norms in the behavior of students. The standards of conduct for students at school are developed in the interests of all students and teachers. If they are observed, it is implied that the contradictions in school collectives are reduced to a minimum. Violation of these norms, as a rule, leads to infringement of someone's interests. The clash of interests is the basis for the conflict. Schoolchildren, in their own opinion, most often commit the following violations of the norms of behavior at school:

• smoking - 50%;
• consumption of alcoholic beverages - 44%;
• rudeness, rudeness in communication - 31%;
• the use of obscene expressions in speech - 26.5%;
• lie - 15%;
• disrespect of pupils to each other - 13%;
• promiscuity in sexual activity - 10%;
• petty theft - 10%; fights-10%;
• hooliganism - 10%;
• drug addiction - 6%;
• bullying of the younger and the weak - 6%;
• gambling (for money) - 3%.

Features of conflicts in school collectives.

Features of conflicts between students schools are determined, first of all, by the specifics of the developmental psychology of children, adolescents and young men (girls). The emergence, development and completion of conflicts is significantly influenced by the nature of the educational process, its organization in a specific educational institution. The third factor affecting conflicts in the relationships of students is the way of life and the existing socio-economic situation.

A systemic family psychologist helps to identify and understand negative cycle- the same sequence of feelings, desires, thoughts, typical reactions of the spouses, leading the conflict to a dead end.

You react to your partner's provocation, and he or she reacts to your reaction, repeating and increasing the tension in the relationship step by step.

An example of a negative conflict scenario

She: Could you meet me after work by car? My driving license has expired and I am waiting for its issuance.

He: I'll meet you. But don't expect me to drive you all week. I'm not a taxi driver.

She: But are you a husband? Some wives don't drive at all and their husbands meet them all the time! Do I ask you so often? I drive myself all the time, and once every ten years the license expired.

He: Am I to blame for the fact that you did not take care of this in advance? Could have prudently changed not at the last moment.

She: Are you going to lecture me now, like a little girl? Let's punish me now by driving on public transport, will it make you feel better? I thought you were pleased to meet me, we could stop by somewhere for dinner, this is a romantic time, which we have so rarely lately!

He: That's how, it turns out, I also turned out to be a bastard. Maybe you should look for another husband?
...
and spend the night in different rooms ...

How to figure it out?

And the paradox is that each spouse is right in his own way, everyone is looking for love... He is looking for confirmation of love in so that he is not very much burdened with duties. She is looking for love in intimacy, in spending time together.

He: “.. don't expect me to drive you all week. I'm not a taxi driver. "

During the session, the psychotherapist uses special techniques, unexpected questions, associations with imaginary characters or toys, playing scenes, etc. All this in order to reveal the spouses, and then show each other real feelings. In this situation, the actions of the psychotherapist will be aimed at finding an answer to the question: "What did you feel at this moment?"

Then, the therapist would apply similar methods of sensing feelings towards the spouse to help find the answer to the question: "How did you feel when you heard these words?"

Thus, both did not want anything bad to each other, however, there was a conflict.

Gradually, step by step, unwinding and unfolding in this way a negative scenario of conflict under the guidance of a psychotherapist, spouses learn to understand their hidden feelings and expectations from a partner, and also learn to better understand the feelings of a spouse.

Systemic family therapy

Analyzing their situations together with the psychotherapist, unraveling the negative cycle, the spouses discover motives that were not spoken to each other at the time of the conflict. These discoveries give new meanings and new perspectives to the spouse's point of view. Each of the spouses begins to understand that the other does not wish him ill at all, but is trying to reduce his own anxiety.

Understanding your negative relationship cycles and the traps you fall into requires an outside perspective and joint scenario analysis. Systemic family therapy can help break the cycle and begin to interact in a different way.

How are the consultations going? These are exercises for play interaction, exercises for written analysis, sequential questioning of spouses, training in communication between spouses, play methods of working with toys and special symbolic cubes.

GBOU SOSH number 456

Kolpinsky district of St. Petersburg

Educator-organizer

Oksana Sidorova

Scenario of the round table “Conflict. I am in conflict situations. "

Explanatory note.

The current level of development of society in our country requires humanization in all spheres of social relations. A conscious, humane attitude of a person to others is an essential component of the ethical, political and environmental culture of an individual, which is necessary for a constructive solution to the global problems of world civilization. Good relationships between people also predetermine the individual happiness of the personality itself, the identification and implementation of its capabilities.

A special role in the process of humanization of a person belongs to the general education school, since it is entrusted with the task of educating the future generation on a humanistic basis. Pedagogical collectives encounter many difficulties in educational work. This is the devaluation of moral principles, and a lack of attention to youth problems, and the low standard of living of certain segments of the population, and the one-sided orientation of the younger generation towards consumerism, and not towards spiritual values.

Many adolescent children do not have the skill to resolve conflicts peacefully. The consequences of these conflicts are children's nervousness, inability to withstand stress for a long time, and the habit of aggression. In the course of the round table, the concepts of "conflict", "conflict situation" are analyzed, the causes of conflicts are clarified, and options for constructive resolution of conflicts are proposed.

During the round table, students receive the following communication skills and abilities:

Resolve conflicts peacefully, establish adequate role relationships;

Readiness for collective forms of communication;

Master the elements of congruence;

They will get the opportunity to communicate communicatively.

Target: search for ways to prevent conflicts between adolescents.

Tasks:

Guys knowing themselves in conflict situations;

To acquaint students with ways to prevent and overcome conflicts.

Respondents: 11th grade students (10 representatives).

The guys are sitting at the tables in the classrooms.

Equipment: projector, laptop, sheets of paper.

The round table is held by a teacher-organizer and a psychologist.

A preliminary test is carried out among 11 grades "Are you a conflict person?"

The course of the event.

The round table begins with watching a cartoon from the series of grandmother's fairy tales "Apple". View stops when conflict is in full swing. Animals cannot share an apple. Thus, the problem is indicated.

Communication of the tasks of the lesson by the teacher-organizer.

The preliminary survey showed that you all behave differently in conflict situations, and there are representatives of all conflict groups among us. (Appendix # 1) On the screen is a diagram of conflict groups for students in grade 11.

Today we will talk about conflicts, their causes and solutions, we will learn how to get out of conflict situations.

1. First stage.

a) Speech by a psychologist.

Conflict is an amazing phenomenon of life, its constant magnitude and an indispensable element, the significance of which is difficult to overestimate.

Conflict provides an opportunity to know the soul of another. It doesn't look like yours. In her world, there are different feelings, thoughts, relationships. It is in the conflict that our dissimilarity is suddenly revealed. And this in itself is already interesting.

The moment of conflict is assessed by people contradictory and ambiguous. In everyday life, it is usually negative; in business relations - with annoyance; in personal with bitterness and resentment. The scientific world accepts the conflict as something inevitable, inevitable and even positive, playing the role of a factor in the development of relations between people.

The severity of the issue of resolving conflicts is dictated by the severity of the socio-psychological situation in society and school, when internal social group contradictions were exposed to the limit and a modern schoolchild found himself in a disharmonious, torn world of social relations and placed in a position of permanent conflict with the surrounding reality.

To destroy a conflict is to destroy one of the most powerful mechanisms for the development of life. Conflict is objective and inevitable, just as life itself is objective, and conflict is a part of life, its constant, an attribute of a developing life.

At the heart of any conflict is a contradiction, that is, a situation in which one thing excludes the other. The world is built in a contradictory way.

"Good" and "evil", "day" and "night", "youth" and "old age", "life" and "death", "want" and "need", "strength" and "weakness", "dream ”And“ reality ”,“ poverty ”and“ wealth ”,“ generosity ”and“ stinginess ”, and“ love ”and“ hate ”- when is there a conflict in this content series?

Only when a contradiction arises and unfolds in the sphere of interpersonal relations, between two personalities, between two subjects, carriers of an internal autonomous world, unique in its content and unlike anyone else's internal spiritual world.

Conflict is always accompanied by great psychological stress (this is why conflicts are so disliked), and this tension is nourished by what is called personal meaning in psychology. "Personal meaning" is that which is significant and affects our soul.

b) Students are encouraged to answer questions. The discussion is given 5 minutes, then the representatives of each group voice their general opinion on these issues.

1) In your opinion, is a conflict-free existence in the world possible?

2) What can lead to conflicts? Give examples from your own life.

2. Second phase.

Speech by the teacher-organizer.

As long as there is no clash of personal meanings, there are no conflicts, there are only different opinions about the same subject. Someone loves silence, while someone else loves noisy fun. And such a contradiction will not lead to a conflict until circumstances collide our interests in the same place, at the same time.

It is impossible to find two people who judge the same subject in the same way. Even when it seems to you that we think in exactly the same way, any nuances are still discovered that emphasize the peculiarities of our perception of the external world and the internal world of another. This leads to the fact that we simply cannot but conflict. As much as we want to, we can never leave conflict overboard in our lives. All our attempts to do without conflict, to get away from it, to avoid it, as a rule, will not be crowned with success. And if this is really so, then it is worth trying to find the most acceptable way out of the conflict situation for both conflicting parties.

Students are encouraged to solve the situation. One situation is offered to each group.

1 situation.

An acquaintance comes up to you and starts accusing you of saying something about him to mutual friends ...

Assignment: Propose different options for the behavior of both parties in this situation.

2 situation.

Students in the class are systematically late for their first lessons. The class teacher invited them to his place for a conversation, but unexpectedly for himself he was late by 20 minutes. The disciples waited for him and are waiting with curiosity how the teacher will behave.

Analyze the options for the proposed actions and choose your.

Start the conversation right away by asking the guys for an explanation.

The teacher will explain the reason for being late and then start a conversation.

The teacher will cancel the conversation, transfer it to a more convenient moment for himself.

The teacher will apologize for being late and start a conversation.

3 situation.

There is a math lesson. The teacher wrote out on the blackboard from the textbook for f / s. A slight rustle of discontent swept through the class: too much was asked. The teacher turns to face the class, surprised: "What's the matter?" Children say that they do not have time, which is a very time-consuming task. The teacher says, “This is for your own good. Whoever does not will receive a "2".

Assignment: Explain the situation of disagreement with the teacher avoiding conflict.

3. Third stage.

Melt the circle game.

This exercise is a test, but the fighting style in this case is used in order to stimulate the willingness and ability to treat people with warmth and sincerity, to see their best sides.

In this exercise, everyone stands in a circle and hold hands. The volunteer (driver) enters the circle. He is surrounded, and his task is to melt the circle with his warmth. The circle will release only those who are able to find kind and pleasant words about someone standing in the circle, who will be able to express their warmth, gratitude or admiration, the best human feelings.

You have no desire to let go of the one who is in the circle, but if you believe in the sincerity of his warm feelings for you, if, in your opinion, the person sincerely gives you his soul, then you can let go of your hands, hug him and let him out of the circle. If you let a person out easily, it won't be interesting: just don't let him out, let him deserve it. Give him a chance: if a person is acting at the limit of his capabilities, appreciate it and let him out. The one who released does not risk anything: the next one in the circle will stand up voluntarily.

Each driver is given 2-3 minutes. The first volunteer is selected.

4. Fourth stage.

Watching the cartoon to the end.

5. The final stage (reflection).

Drawing. An emotional portrait of a person they would like to meet on their way.

Appendix # 1.

Test "Are you a conflict person?"

If you are, as stated in the proposal, behave often in a conflict situation, then give 3 points; from time to time - 2 points; rarely - 1 point

1. I threaten or fight.

I try to understand the opponent's point of view, I reckon with it.

I am looking for compromises.

I admit that I am wrong, even if I cannot believe it completely.

I avoid the enemy.

I wish you to achieve your goals by all means.

I am trying to find out what I agree with and with what I absolutely disagree.

I am going to compromise.

Changing the subject.

I persistently repeat one phrase until I achieve my goal.

I am trying to find the source of the conflict, to understand how it all started.

I will give in a little and thereby push the other side to make concessions.

I offer the world.

Trying to turn everything into a joke.

Processing test results:

Type "A": the sum of points numbered 1, 6, 11.

Type "B": the sum of points numbered 2, 7, 12.

Type "B": the sum of points numbered 3, 8, 13.

Type "D": the sum of points numbered 4, 9, 14.

Type "D": the sum of points numbered 5, 10, 15.

Interpretation:

"A" is a tough style of conflict and dispute resolution. These people stand their ground to the last, defending their position. This is the type of person who considers himself to be always right.

"B" is a democratic style. These people believe that it is always possible to agree, during a dispute they offer an alternative, they look for a solution that satisfies both parties.

"B" is a compromise style. From the very beginning, a person is willing to compromise.

"G" is a soft style. A person destroys his opponent with kindness, readily takes the opponent's point of view, refusing his own.

"D" is an outgoing style. A person's credo is to leave in a timely manner, before a decision is made. Seeks not to lead to conflict and open confrontation.

CHAPTER EIGHT

CONFLICT

Conflict is at the heart of any drama. This is the base on which the drama is built. A novel can be philosophical, a poem can be lyrical, but the drama must be conflicting. This rule always remains regardless of what you are doing: comedy, tragedy, farce or police film. Conflict is the key to unlocking any dramatic form. Without it, you can have interesting characters, situations and individual episodes, but you will not have a script.

Conflict arises when different interests... One will win, the other will lose. Each has its own goal. Throughout the film, we watch opposing interests fight.

Conflict arises from many situations and forms. There are different types of conflict, and some are more dramatic than others. Shooting, car accidents, battles between orcs and elves, etc. are not the best way to express conflict. There are many other ways, and a good script uses these ways to express multiple conflicts.

There are five main types of conflicts on which stories are based:

1. INTERNAL,

2. RELATIONSHIP,

3. SOCIAL,

4. SITUATIONAL,

5. SPACE.

Some are more common than others, and some are more suited to dramatic forms.

INTERNAL CONFLICT

When the hero is not confident in himself, in his actions, or in his desires, he is in conflict with himself. This kind of conflict works well in a novel and is more problematic to express in a drama.

Often, screenwriters use voiceover or exposure to express inner conflict. This technique must be used very carefully so as not to turn the script into a radio play. Although in modern cinema there are good examples of this kind of use of the voiceover technique: "Carlito's Way", "The Armory Baron", etc.

Often, internal conflict can be expressed through feelings for some other person. In Tootsie, Michael tells Jeff about his feelings for his new incarnation, Dorothy.

MICHAEL: I hope I look better. I feel like she (Dorothy) so wonderful.

Notice how short this description is.

The phone rings.

MICHAEL: Don't pick up the phone.

JEFF: Why?

MICHAEL: That might be Dorothy's call ...

JEFF: Did you give them this number?

MICHAEL: I had to. They can call me at any time.

JEFF: I'll answer and ask what to convey.

MICHAEL: No. I don't want them to think that I am living with a man.

JEFF: What if this is an important business call? Answer like Dorothy.

MICHAEL: I can't answer like Dorothy. What if it's Sandy?

JEFF: Or my Diana? How do I explain the presence of a woman?

MICHAEL: Well, okay, I'm sorry.

JEFF: Look, how long can this go on? I am at home. But I can't do anything, I can't even answer the phone? How long will this last?

Here you see a very good option for using an internal conflict, when an internal conflict splashes out on someone external and develops into another conflict - relationships.

For example, I came home irritated and hit the dog, the dog bit me. My inner conflict turned into a conflict between me and the dog.

RELATIONSHIP CONFLICT

Most of these conflicts are based on the conflicting goals and desires of the heroes. In The Witness, it's a conflict between cop John Book and his boss, Paul. Relationship conflict can be the reason for the entire film, or it can tie just one scene in the film. A classic example of a powerful conflict of relationships is the conflict between Hamlet and his uncle Claudius, the new king.

SOCIAL CONFLICT

In many films, the conflict unfolds between one person and a group of people - the mafia, bureaucracy, government, family, corporation, etc. Such a conflict is called social, because the interests of individual social groups or groupings collide with a person - as a rule, a positive hero - who is fighting against them. Thriller scripts are often built on this.

SITUATION CONFLICT

In the 70s, films were distributed in which the hero found himself in crisis situations - life-death situations. It was then that a new genre of cinema was born - disaster films... Although such situations aroused interest, sympathy and even empathy, the conflict in them was still resolved at the level of relationships. In the 70s, in such films like the already classic "Airport" (based on the novel by Arthur Haley), the initial conflict is situational. A certain situation is given (catastrophe, earthquake) in which the characters begin to manifest themselves in different ways. However, without conflicts in the relationships of the characters generated by the situation, the main, situational conflict cannot last long.

SPACE CONFLICT

In some paintings, a conflict arises between man and God or man and the Devil. Cosmic conflict is based on the relationship between a person and any superpowers. Such a conflict can only be the root cause, which then must necessarily result in a conflict of relationships. ("Amadeus" - Salieri curses God, but takes out hatred on Mozart).

SOME CONFLICT PROBLEMS

There are many problems with script conflict. Often they arise due to too many conflicts, so that the main one is not clear. Or there are too many negative characters in the script and the main character is lost in them. Often the conflict changes from one part of the script to another, which interferes with perception. Sometimes there is no conflict at all.

A lot of problems arise when trying to translate (film) a novel into a script. The conflict in the novel lies in the realm of the psychology of the heroes described to us. The descriptive part can be extremely difficult to translate into visual without loss. As a rule, there is an internal conflict in novels. To translate it into a script, it is necessary to come up with ways out of internal conflict in a conflict of relationships.

Often, pictures based on a literary work are more descriptive than dramatic. A voiceover is used, or the main character has no opponents, which also leads to descriptiveness. Or the conflict in the first part is completely different from the conflict in the second.

However, there is, in my opinion, a good way to translate a literary work (novel) into a script. In most cases, the plot lines of the novel are somehow connected with the inner experiences of the characters, their further actions, etc. In this regard, it is possible to turn a plot line into a plot line (that is, turn an internal conflict into a conflict of relationships, effective). Then the main storyline, supplemented by such small lines, will become clearer and more voluminous.

Working with the bestseller Christie (The famous novel by Catherine Marshall. We do not know what adaptation of the novel L. Seger had in mind in the eighties when she wrote this book, but there is a 2002 adaptation of Christie, directed by Chuck Bowman. Ed.) we faced exactly the same problems. This novel focuses on Christie's relationship with God. This is - main conflict novel - and by no means effective. And this theme is revealed through the story of a young girl who came to the Appalachians to teach in 1912. Her uneasy relationship with the students, with the doctor and the minister, and the incessant enmity that prevents them from living in harmony and friendship.

In the novel, the theme of enmity is a small storyline. In the process of converting the novel into a script, we pulled out this line is in the foreground, although in the novel Christie observes more than takes part in the feud. Thus, we made Christie be more effective, more active. We have combined many scenes and characters, some scenes were thrown out altogether, thus, significantly intensified the action. By bringing Christie closer to real enmity, we found a way to express the internal conflicts that exist in the novel.

When adapting a novel, as a rule, a new rebalancing of the plot and plot lines, a reorganization of the scenes, is necessary in order to make the main conflict more understandable.

We have already discussed the problems of motivation, action and purpose. conflict.

When you define a conflict, try to define as clearly as possible for yourself the goals that the conflicting parties pursue, as a result of which the conflict arises. For example, having schematically depicted the lines of the "Witness": the line of Paul and the line of John, we get the following picture:

Notice how diametrically opposed the aspirations of John and Paul are. When developing a conflict, you need to think about how to express it as strongly as possible. In Stanislavsky's method, the actor must find the most accurate formulation that expresses his aspirations. For example, if in a given scene the hero needs to get some information, the actor can formulate his actions in the following sentence: “I must get this information,” but this formulation is weak. It will be better if he finds a different form: "I have to get the maximum information I need out of him, no matter what the cost." This formulation leads to the most powerful action of the hero.

Having determined the goals and desires of your hero and antihero, having determined what exactly the conflict between them is, pay attention to other characters. You should emphasize your main conflict as much as possible with secondary conflicts.

Answer the following questions:

1. Who is my hero and antihero? What is the conflict between them? Is this a relationship conflict? Or social, situational, cosmic?

2. How is this conflict expressed? Have I used an effective series or dialogue to express conflict?

3. Have I used other small conflicts for the most complete expression of the main?

4. Does the conflict connect the main line of the picture with the through action of the hero?