Theatrical pedagogy as a means of education in the history of the formation of the theater. Theatrical pedagogy as a universal means of human upbringing How theater pedagogy is present in schools

It is difficult to imagine an actor who would learn to play just by reading and listening to how others do it. The actor learns by acting himself. Or imagine that the director “forgot” about the viewer and did not think about how to grab his attention, how to make him an accomplice in what is happening - for a poor viewer, the performance will not take place, even if he patiently sits in the hall for two hours.

This feature of the theater, for which all teachers should love it, is the need for maximum personal involvement of each and every one in the process of theatrical performance.

In addition, directors have long noticed that when students learn the basics of acting, they master many things that are useful in life far beyond the stage. They overcome psychological barriers, their motivation increases in cognition of the world, they learn to perceive artistic images of art, develop communication skills.

So why not use a toolkit designed to prepare actors to solve complex pedagogical problems in school?

The theater has a lot to learn. Pedagogical practitioners who find a source of educational tools in the theater are combined into a special system - school theater pedagogy. And today she provides her answers to many of the challenges facing education.

Principles of Theater Pedagogy

A rare literature teacher did not try to role-play a fable in the classroom, and we all went through school performances for various holidays, when the main roles go to those who can speak loudly. If this happens chaotically, if the teacher does not set any tasks at the same time, except “to have time to finish the performance by March 8” or “to diversify the activities of students in the lesson,” then there is little benefit from this.

Theatrical pedagogy does not imply the obligatory performance of scenes.

This is a view of the educational process as a dramatic action that captivates the participants on an emotional level.

Theatrical pedagogy is a practical direction of modern psychology and pedagogy of art, which implements the principles of eventfulness, living, personal creative action and improvisation in education, connecting intellectual, sensual and emotional perception.

Psychologist Tatyana Klimova, senior lecturer at the Department of Culturology and Aesthetic Education of the Moscow Institute of Education (this is one of the few institutes where various existing areas of theater pedagogy are systematized at the methodological level), explains why traditional ideas about teaching as a translation of knowledge, skills and abilities in the modern world are not work.

Tatiana Klimova

psychologist, senior lecturer at the Department of Culturology and Aesthetic Education, Moscow Institute of Education

Today, the most brilliant teacher cannot compete with the media environment. Lectures by Dmitry Bykov are available on the Internet, and a rare literature teacher will be able to compete with him in the level of mastery of the material, in provocativeness, inventiveness, and paradox. The teacher should win this competitive struggle at the expense of what only he can give - at the expense of a different quality of communication. The teacher must become an organizer of the educational environment, a director who organizes his lesson space in such a way that it becomes a dramatic field of interaction.

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

The principle of eventfulness means that during the class something should happen that changes the world for the participants in the action. Before the event happened for you, you were a little different, thought a little differently, acted differently. Through the experience of events, a person develops.

Accommodation principle determines that the event cannot be the result of the acceptance of external conditions. It can only be the result of personal experience, discovery.

Education in theatrical pedagogy becomes a territory personal creative action... In the learning process, the freedom of creativity can be limited gradually through the proposed circumstances, problems and difficulties that must be overcome, but not through prohibitions. If this principle is observed, all competencies become the result of personally significant discoveries, and not the imposition of dogmas.

And finally principle of improvisation- a distinctive feature of theatrical pedagogy. Before thinking, a good actor must act. Spontaneity, immediacy - qualities that allow you to reveal the potential of the child, but which are often "jammed" by the traditional educational system. And a teacher who himself cannot be spontaneous, is afraid to improvise, will not teach this to another.

Tatiana Klimova

psychologist, expert in theater pedagogy

Theatrical pedagogy is about meaningfulness. Here, as on the stage, you immediately see Stanislavsky's “I believe - I don’t believe”. "Fake or does it really exist?" - a very important moment for education. One teacher imitates learning, he does not have this personal discovery in the lesson. And the other really explores, reflects, doubts, which means- teaches, and this is not a question of the amount of knowledge, not memorized dates and names.

How theater pedagogy is present in schools

Toolkit that every teacher can use in their lessons

How do you get into class? Do you think a magazine roll call is the best way to intrigue students for the next 35 minutes? How do you end the session? Is what you are talking about relevant for the students, do they manage to make a discovery during the lesson that is meaningful for them personally?

Theatrical pedagogy introduces to the ordinary school the techniques that are practiced in acting and directing trainings. They allow you to take attention, speak beautifully, and feel the dynamics of what is happening in the class. They help to activate passive children and cope with excessive energy of too active ones. Many of them are associated with a sense of time, with an understanding of how to organize a 40-minute lesson in order to gradually "warm up", pass the climax point and comprehend what happened. Understanding how the space in the classroom can be used in different ways - to arrange desks in a circle or to think over a lesson so that children move in groups from corner to corner - this is also connected with theatrical practice, in which there is the concept of mise-en-scène.

“Start with anything but a lesson. You must surprise the class "

In Moscow, whole grammar schools and lyceums are showing interest in theater pedagogy, whose directors understand that the artistic environment has a powerful stimulating effect on children. Among them is Sergei Kazarnovsky's Class-Center, one of the first institutions of this format, when the theater becomes an integral part of school life. In the Moscow Chemistry Lyceum, children, future physicists and chemists, upon admission, take consent to mandatory participation in theater and music circles. There are seven school theaters at the Lomonosov school in Sokolniki.

Fragment of the play "From Balda" by the students of the "Class-Center" school and analysis of the fragment with the director of the school - director Sergei Kazarnovsky.

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

Going to the theater

Teachers can be the "special agents" of the theater among the younger generation, who teach children to understand art and bring them to the auditorium. Therefore, another direction of theatrical pedagogy is developing at the intersection of the interests of the school and professional theater.

Any theater needs a spectator, and at some point the theaters realized that the audience needed to be educated.

There is a fairly developed system for preparing a child for encountering art, developed by theater and museum teachers. The essence of such preparation is the ability to talk with the child about what he will see before going to the theater, museum or other art space, and discuss with him his emotions and experiences after.

The ability to conduct a dialogue with a child about art needs to be developed, and for this, many theaters organize various events for teachers of general education schools. For example, at the Tovstonogov Bolshoi Drama Theater in St. Petersburg, the Pedagogical Laboratory operated for two years - a long-term project during which teachers of St. Petersburg schools got acquainted with the theater and the instrumentation of theater pedagogy through a series of trainings, seminars and creative projects. Regular master classes for teachers and theater lessons are held at the Theater named after A.S. Pushkin in Moscow.

Psychologist, head of special projects of the Moscow Drama Theater. A.S. Pushkina Olga Shevnina shares her experience in preparing schoolchildren (and not only) for the perception of a theatrical performance.

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

Theatrical pedagogy is not a “magic wand” that will solve all problems with one wave: I found a “point of surprise” in a lesson - and immediately motivation increased, an emotional atmosphere improved and a creative initiative manifested itself. There are no miracles. But a systematic and meaningful appeal to theatrical practices, to personal improvisation, to an artistic image can turn the school routine into a space of intellectual and emotional discoveries.

The synthetic nature of theatrical art is an effective and unique means of artistic and aesthetic education of students, thanks to which children's theater occupies an essential place in the general system of 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 for young actors, but also for vocalists, artists, musicians, illuminators, organizers and teachers.

The use of the means of theatrical art in the practice of teaching and educational work contributes to the expansion of the general and artistic horizons of students, general and special culture, the enrichment of aesthetic feelings and the development of artistic taste.

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

Noting the crisis of modern theater education, the lack of new theatrical pedagogical leaders and new ideas, and as a result of this, the lack of qualified teaching staff in children's theater performances, it is worth taking a closer look at the legacy that has been accumulated by the Russian theater school and, in particular, by the school theater. and children's theater pedagogy.

The traditions of the school theater in Russia were laid down in the late 17th - early 18th centuries. In the middle of the 18th century, the St. Petersburg land nobility corps, for example, even had special hours for “teaching tragedies”. The students of the corps - future officers of the Russian army - acted out plays by Russian and foreign authors. Such outstanding actors and theatrical teachers of their time as Ivan Dmitrevsky, Alexei Popov, brothers Grigory and Fyodor Volkov studied in the gentry corps.

Theatrical performances were an important part of the academic life of the Smolny Institute for Noble Maidens. Moscow University and the Noble University Boarding School. Tsarskoye Selo Lyceum and other elite educational institutions of Russia.

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

In the last third of the 18th century, a children's home theater was born in Russia, the creator of which was the famous Russian educator and talented teacher A.T. Bolotov. The first plays for children in Russia belonged to him - "Chestokhval", "Rewarded Virtue", "Unhappy Orphans".

The democratic upsurge of the late 1850s-early 1860s, which gave rise to the social and pedagogical movement for the democratization of education in the country, contributed to a significant heightening of public attention to the problems of education and training, the establishment of more demanding criteria for the nature and content of educational work. Under these conditions, a heated discussion of the dangers and benefits of student theaters is unfolding in the pedagogical press, the beginning of which was laid by the article by N.I. Pirogov "To be and to seem." Public performances of high school students were called "the school of vanity and pretense" in it. NI Pirogov posed a question to the educators of youth: “... Does sound moral pedagogy allow showing children and young men in front of the public in a more or less distorted and, therefore, not in their present form? Does the means justify the end in this case? ”.

The critical attitude of an authoritative scientist and teacher to school performances found some support in the teaching environment, including KD Ushinsky. Individual teachers, based on the statements of N.I. Pirogov and KD Ushinsky, even tried to bring some "theoretical basis" to prohibit students from participating in theatrical performances. It was argued that the pronunciation of other people's words and the image of another person causes antics and love of lies in the child.

The critical attitude of the outstanding figures of Russian pedagogy N.I. Pirogov and K.D. Ushinsky to the participation of schoolchildren in theatrical performances was apparently due to the fact that in the practice of school life there was a purely ostentatious, formalized attitude of teachers towards school theater.

At the same time, at the end of the 19th - beginning of the 20th centuries, a conscious attitude towards the theater as the most important element of moral, artistic and aesthetic education was established in Russian pedagogy. This was largely facilitated by the general philosophical works of leading Russian thinkers, who attached exceptional importance to the problems of the formation of a creative personality, the study of the psychological foundations of creativity. It was during these years in domestic science (V.M.Soloviev, N.A. Berdyaev, etc.) that the idea that creativity in its various expressions is a moral duty, the purpose of a person on earth, is his task and mission, begins to be asserted. that it is the creative act that pulls a person out of the slave forced state in the world, raises him to a new understanding of being.

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

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

Children can gradually move from puppet theater to dramatic theater enthusiasm. With skillful adult guidance, children’s love of dramatic play can be used to great benefit for the development of children.

Acquaintance with the publications of the pedagogical press of the late 19th - early 20th centuries, the statements of teachers and figures of the children's theater testifies to the fact that the importance of theatrical art as a means of raising children and youth was highly appreciated by the pedagogical community of the country.

The First All-Russian Congress on Public Education, which took place in St. Petersburg in the winter of 1913-14, paid an interested attention to the problem of “theater and children”, at which a number of reports on this issue were heard. The resolution of the congress noted that "the educational influence of children's theater is manifested in all its strength only when it is thoughtfully and expediently staged, adapted to children's development, world outlook and to the national characteristics of the region." “In connection with the educational impact of the children's theater,” it was also noted in the resolution, “its purely educational significance is also found; dramatization of educational material is one of the most effective ways to apply the principle of clarity ”.

The issue of children's and school theaters was also widely discussed at the First All-Russian Congress of People's Theater Workers, which took place in 1916. The school section of the congress adopted an extensive resolution that touched upon the problems of children's, school theater and theater for children. In it, in particular, it was noted that the dramatic instinct, inherent in the very nature of children and manifested from a very early age, should be used for educational purposes. The Section considered it necessary “that in kindergartens, schools, orphanages, school premises at children's departments of libraries, people's houses, educational and cooperative organizations, etc., appropriate place should be given to various forms of manifestation of this instinct, in accordance with the age and development of children, and namely: the arrangement of dramatic games, puppet and shadow performances, pantomimes, as well as round dances and other group movements of rhythmic gymnastics, dramatization of songs, charades, proverbs, fables, storytelling, arrangement of historical and ethnographic processions and festivals, performances of children's plays and operas ” ... Taking into account the serious educational, ethical and aesthetic significance of the school theater, the congress recommended the inclusion of children's parties and performances in the school's program of activities, the initiation of petitions to the relevant departments for the allocation of special funds for the organization of school performances and holidays. When constructing school buildings, it was noted in the resolution, it is necessary to pay attention to the suitability of the premises for the organization of performances. The congress spoke about the need to convene an all-Russian congress on the problems of children's theater.

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

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

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

In our time, major social changes, the problem of intellectual and spiritual unemployment of young people is extremely acute. The vacuum is filled with antisocial preferences and inclinations. The main barrier to the creminalization of the youth environment is active spiritual work that meets the interests of this age. And here, the school theater, armed with the techniques of theatrical pedagogy, becomes the club space where a unique educational situation develops. Through a powerful theatrical tool - empathy, educational theater unites children and adults at the level of common cohabitation, which becomes an effective means of influencing the educational and upbringing process. Such an educational theater-club has a particularly important influence on “street children”, offering them informal, frank and serious communication on pressing social and moral issues, thereby creating a protective socially healthy cultural environment.

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

1. Professional art for children with general cultural values ​​inherent in it. In this direction of aesthetic education, the problem of the formation and development of the spectator culture of schoolchildren is being solved.
2. Children's amateur theater, existing inside the school or outside it, which has peculiar stages of artistic and pedagogical development of children.

Amateur school theater is one of the forms of additional education. The directors of school theaters create their own programs and set the task of serving the young spectator. Both the first and the second represent a significant scientific and methodological problem. In this regard, there is an urgent need to define the accumulated theoretical and empirical knowledge in children's theater pedagogy into a special discipline on the subject of “children's theater pedagogy” and to introduce this subject into the programs of universities that train amateur theater directors.

1. Theater as an academic subject, allowing you to realize the ideas of the complex of arts and apply acting training in order to develop the social competence of students ..

Artistic creativity, including acting, uniquely and vividly reveals the nature of the personality of the child-creator.

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

Back in the 70s, the theater laboratory of the Research Institute of Art Education developed and substantiated the idea of ​​universal accessibility of primary theater education, which made it possible to talk about the academic subject “theater lesson”.

In subsequent years, programs were developed on the technique of action, on stage speech, on stage movement, on world art culture. A collection of creative assignments for children's theater classes has been created.

1. Theater pedagogy, the purpose of which is to develop skills of expressive behavior, is used in professional training and retraining of teachers. Such training allows you to significantly change the usual school lesson, transform its teaching and educational goals, and ensure an active cognitive position of each student.

Speaking about the system of additional education, it should be noted that, in addition to being scientific, an equally important principle of pedagogy is the artistic quality of the educational process. And in this sense, the school theater can become a uniting club space for informal socio-cultural communication between children and adults through the perception of an original artistic phenomenon.

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

In the field of theatrical education of children, the problem of personnel is still acute. Universities do not train directors-teachers of children's theater education and children's amateur theater. If the graduates are somehow familiar with the staging techniques, then they are almost not familiar with the pedagogical theatrical process.

This necessitates the creation of specialized secondary educational institutions for preparing directors-teachers of children's theaters, who should know well the children's specifics of teaching methods for acting and rehearsing.

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

It must be remembered that the theatrical and educational process, due to its unique synthetic playful nature, is the most powerful means of upbringing precisely through the living of spiritual cultural samples of humanity.

In this regard, it should be noted that in recent years, thanks to the efforts of the staff of the theater laboratory of the Research Institute of Art Education, the socio-play style has become widespread in theatrical pedagogy.

"Socio-play style in pedagogy"Received this name in 1988. He was born at the intersection of humanistic trends in theatrical pedagogy and cooperation pedagogy, which is rooted in folk pedagogy.

The urgent need for social changes in society prompted many teachers to search for a new level of democratization and humanization of the pedagogical process. Thus, thanks to the efforts of the famous psychologist Ye. B. Shuleshko, the innovator-teacher LK Filyakina, and theatrical teachers A.P. Ershova and VM Bukatov, a new or “well forgotten old” arose, which was called “socio-game pedagogy”.

Carefully adopting the spirit of democracy, age cooperation, syncretism of the learning process from folk pedagogy and, enriching this with a base of practical exercises from theatrical pedagogy based on the method of KS Stanislavsky and the "theory of action" of P. M. Ershov, the socio-play style allows new to comprehend, first of all, the role of the teacher in the educational process. The leading role of the teacher has long been defined and entered into practice as one of the basic didactic principles. But, each historical time presupposes its own level of democracy of the process of harmony between people and a new understanding of the role of a leader and, in particular, a teacher. Each sovereign person, at the time necessary for a common cause, responsibly and consciously finds his place in the general process of doing - this is probably how you can define a new level of harmony to which the pedagogy of cooperation and, in particular, theatrical pedagogy aspires. This does not negate the principle of a different level of harmony "do as I do", but presupposes a wider sphere of manifestations of the student's independence and, above all, his right to make mistakes. It is important to establish equality between student and teacher. A teacher who has or allows himself the right to make a mistake removes the fear of an independent act of a student who is afraid to make a mistake or "hurt himself." After all, the teacher is constantly tempted to demonstrate his ability, correctness and infallibility. In this sense, in each lesson he trains himself more, honing his skill and demonstrating it with great “brilliance” in front of “illiterate and completely inept children”. A mistake for such a teacher is equal to the loss of authority. Authoritarian pedagogy and any authoritarian system are based on the infallibility of the leader and the fear of losing it.

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

The first stage of mastering theatrical pedagogy in its dominance pursues precisely this chain - to give the opportunity to "be in the shoes" of the student and from the inside to see what is happening with those whom we teach, to look at ourselves from the outside. Is it easy to hear the assignment, is the student-teacher able to hear the teacher and, above all, his colleagues? It turns out that most teachers are much less proficient in these skills than "inept and illiterate children." The task for the pupils-teachers is to work on an equal footing with their colleagues, and not to demonstrate their proven ability to “shut everyone's mouth”, or keep silent in the corner.

Teachers often lack the patience to allow children to “play out”, “do something”. Seeing a “mistake”, the teacher immediately strives to eliminate it with his lengthy and not yet required explanations or “brilliant” hints. So the fear of "no matter what they have done" hits hands, as a result of which the students stop creating and become the executors of other people's ideas and designs. The pedagogical desire to "do more good and more often" is, often, only a subconscious desire to declare their importance, while children themselves can sort out the mistakes that guide their search. But the teacher wants to constantly prove his importance, necessity and right to love and respect.

Theatrical pedagogy proposes to see the significance in the very organization of the search process, the organization of a problem situation-activity in which children, communicating with each other, will discover new things through task play, trial and error. Often, the children themselves cannot organize such search and creative activity and are grateful to the person who organized for them a holiday of research and communication.

But the holiday will not take place if the "master of the house" is not feeling well. Equality of the teacher and children not only in the right to make mistakes, but also in adequate interest. An adult should also be interested in the game, he is the most active supporter for the success of the game. But his role in it is organizational, he has no time to "flirt". The organizer of the holiday is always in the business of "food", "fuel" for the interesting mental activity of children.

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

The teacher must be fluent in the content of the subject, which will give him confidence in behavior and speed in his game methodological transformation of the material into a game task form. He needs to master the techniques of director-pedagogical stage performance. This means being able to translate educational material into game problematic tasks. Distribute the content of the lesson by semantic, logically interconnected episodes. Uncover the main problem of the educational material and translate it into a sequential series of game problems. This can be both in the form of a didactic game and in the form of a role-playing game. It is necessary to have a large arsenal of game moves and constantly accumulate them. Then one can hope for the possibility of improvisation during the lesson, without which the lesson will become stencil-dead.

It is important to develop a range of control over your communication behavior. To master acting and pedagogical skills, to master a variety of techniques of influences. You need to master your bodily mobilization and be an example of business purposefulness. To exude joyful, despite mistakes and failures, well-being. Any positional conflicts that arise in educational work, strive to neutralize their business approach, without getting into bickering. To be able to dispose of the initiative, regulating the tension of forces and the distribution of work functions of the participants in the process. To do this, use the levers of perseverance in full somehow: different (starting from a whisper) voice volume, its height, different speed of movement in the classroom and speaking, extension and completion, change of various verbal influences. In any business, strive to discover the friendliness of the interests of the students and the teacher. And not to declare it, but to find it in reality, without replacing it with pedagogical pharisaism about universal love and the need to acquire knowledge. Always strive to proceed from the actual proposed circumstances, from how it really is, not how it should be. To destroy the bacillus of double morality, when everyone knows and does as it is, and speaks as is customary.

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

1. 1... The principle of improvisation... "Here, today, now!" Be ready to improvise in assignments and conditions of its implementation. Be ready for miscalculations and victories for both your own and your students. Overcoming all obstacles to meet as an excellent opportunity for live communication of children with each other. To see the essence of their growth in moments of misunderstanding, difficulty, questioning.
2. Don't chew every task. Principle of information deficiency or concealment.“I don’t understand” in children is often associated not with the process of understanding itself. It can be just a defense - “I don’t want to work, I’ll take the time”, the desire to attract the attention of the teacher and the school habit of “freezing” - the teacher is obliged to “chew everything and put it in his mouth”. Here comments are necessary business, the most urgent, giving an initial setting for joint activities and communication of children with each other. It is necessary to give the opportunity to clarify with peers a really incomprehensible question. This does not mean to write off what our children have long been accustomed to, it means to legalize mutual assistance. Such a clarification is useful both for those and for others, more than multiple explanations of the teacher. Peers will understand each other faster. In addition, they will begin to do it - they will understand!
3. Even if, in your opinion, the task is not understood by the children, but they are doing something, do not rush to interrupt and explain the "correct" option. Often the "wrong" execution of the task opens up new possibilities for its application, a new modification, which you would not even guess about. Perhaps the activity of the children is more valuable here, and not the correct fulfillment of the conditions of the assignment. It is important that there is a constant opportunity for training in the search for a solution to the problem and independence in overcoming obstacles. it the principle of priority of student initiative.
4. Often the teacher experiences acute negative emotions when faced with the refusal of children to complete the task. He “suffered, created, invented at night” and brought children a “gift” for which he expects a natural reward - joyful acceptance and embodiment. And they don't like it, but they don't want Demyanova's fish soup. And then there is an insult to the "refuseniks", and, in the end, the conclusion "yes, they don't need anything at all! .." So there are two warring camps of students and teachers, excellent strikers and "difficult". Difficult ones are those who cannot or do not want to please the teacher. Pupil priority principle: "The viewer is always right!"

The advice here is to restructure your general attitude towards rejection. If you try to see in it a hint for yourself, a real "feedback" that teachers dream of, then this will be perceived as a reciprocal gift from the child. First, he showed his independence, the independence that you were going to bring up in him. And secondly, he drew your attention to the need for a more thorough assessment of the level of training and interests of students. This will help you find the adequacy of your task to the level of need for it. It is at this time that you are improving as a teacher, if, of course, you need it.

1. One of the central techniques is working on an assignment in small groups.... It is here, in a situation of complementarity and a constant change of role functions, that all the techniques and skills to create a common harmony in joint work effectively work and are constantly being honed. A change of role functions is being developed (teacher-scholar, leader-follower, complementary), since the composition of the groups is constantly changing. There arises an objective need to include each member of the group in the work, since it can fall on any of the members by lot to answer for the group. it principle of business, not ambition."Today you play Hamlet, and tomorrow you are a member of the crowd."
2. 6... Principle "Do not judge ..." Tact is practiced in the ability to “judge” the work of another group on the case, and not on personal sympathies and claims, which translate into mutual grievances and pain. To avoid such "showdowns" the teacher needs to establish just business, specific criteria for assessing the performance of tasks.

For example: did you or did not manage to meet the set time? Were all or not all of the band members engaged in demonstrating the answer? Agree or disagree with the answer? Such unambiguous criteria that do not relate to assessments “like - not like, bad - good”, at first, control, first of all, the organizational framework of the assignment. In the future, studying the evaluation criteria, the students learn to track and mark the objective, not the gustatory side of the phenomenon. This makes it possible to remove the acuteness of the problem of the collision of ambitions in collective work and more constructively keep records of the material learned.

Periodically giving the role of a "judge" to students, the teacher expands the sphere of their independence and receives an objective assessment of his activities: what his students have learned in reality, and not according to his ideas. In this case, the phrases “I told them a hundred times! ..” will not save you. The sooner we see the real fruits of our activities, the more time and chances we have to change something else.

1. Principle correspondence of the content of the work to a certain external form, i.e. mise-en-scène. Mise-en-scene solution of the educational process. This should be expressed in the free movement of students and teachers in the classroom space, depending on the need for the content of the work. This is the habitation of space, for its appropriation and comfortable well-being in it. This search for a teacher's place in each specific situation is different. The deed should not serve some external order, but the order should change depending on the needs of the deed.
2. The principle of problematization.

The teacher formulates the task as a kind of contradiction, which leads the students to the experience of a state of intellectual impasse, and immerses them in a problem situation.

A problem situation (problem-task, situation-situation) is a contradiction between the range of proposed circumstances and the needs of an individual or a group of individuals within this vicious circle.

Therefore, a problematic situation is a psychological model of the conditions for generating thinking based on the situational dominant of the cognitive need.

A problem situation characterizes the interaction of the subject and his environment. The interaction of personality and an objective contradictory environment. For example, the inability to complete a theoretical or practical task using previously acquired knowledge and skills. This leads to the need for arming with new knowledge. It is necessary to find some unknown that would allow resolving the contradiction that has arisen. The objectification or objectification of this unknown occurs in the form of a question posed to oneself. This is the initial link in mental activity that connects the object and the subject. In educational activities, such a question is often asked by the teacher and addressed to the student. But it is important that the student himself gains the ability to generate such questions. In search of an answer to the question of new knowledge, the subject develops or lives on the way to the generation of knowledge.

In this sense, the problematic situation is the primary and one of the central concepts of theatrical pedagogy and, in particular, the socio-game style of teaching.

Problem-based learning is a teacher-organized way of the student's interaction with the problem-presented content of the subject of study. The knowledge obtained in this way is experienced as a subjective discovery, understanding as a personal value. This allows you to develop the student's cognitive motivation, his interest in the subject.

In training, by creating a problematic situation, the conditions for research activities and the development of creative thinking are modeled. The means of controlling the process of thinking in problem learning are problematic questions that indicate the essence of the educational problem and the area of ​​the search for unknown knowledge. Problem-based learning is realized both in the content of the subject of study and in the process of mastering it. The content is realized by the development of a system of problems that reflect the main content of the subject.

The learning process is organized by the condition of an equal dialogue between the teacher and the student, and the students with each other, where they are interested in each other's judgments, since everyone is interested in resolving a problem situation in which everyone has fallen. It is important to collect all the options for solutions and highlight the fundamentally effective ones. Here, with the help of a system of educational problems caused by problem situations, subject research activities and norms of social organization of dialogical communication of research participants are modeled, which in fact is the basis of theatrical pedagogy of the rehearsal process and teaching, which allows developing the mental abilities of students and their socialization.

The main means of testing any assumption is an experimental test, which confirms the evidence of facts; in theatrical pedagogy, this can be a stage performance or study, a thought experiment or analogy. Then there is necessarily a discussion process of proof or justification.

Under the stage the educational and pedagogical process of creating a plan for an actor's experiment-study and its implementation is understood. This means assembling the range of proposed circumstances of the situation, setting goals and objectives of its participants and the implementation of these goals in stage interaction, by certain means available to the characters of the story. Unlike a professional acting etude, in a general educational situation, it is not acting skills in itself that is important, but its methods of appropriating the situation. This is a process of creative imagination and mental justification of the proposed circumstances and an effective experiment-study to test the hypothesis of solving a problem. It can also be a search for a solution through improvisation in the proposed circumstances.

The pupils, having played the experiment-study, practically visited the studied situation and tested their assumptions and options for behavior and solutions to the problem in a similar situation in their life-playing experience. Moreover, educational and cognitive sketches can be constructed both fully re-creating the necessary situation, and similar situations, essentially similar, but different in form, which may be more familiar and familiar to students. The etude method, as a method for studying a situation or a certain content, involves the formulation of a problem and a task to solve it, the creation of a list of conflict rules of behavior (what can and what is not) that create a game problem situation, an etude experiment and its analysis. In this case, the main stage is precisely the analysis. In the analysis, the given framework of the rules of the game is checked against those that actually existed, i.e. the purity of the experiment is evaluated. If the rules are followed, then the results obtained are reliable. In the discussion analysis of compliance with the rules, both student-executors and student-observers participate, who are initially assigned the role of controllers. It is this ternary competitive process of interchange of information experienced in the study, observed and controlled that allows students to get into a reflexive position, which effectively moves the process of generating new knowledge. It does not matter at all how the student-performers played from the point of view of the acting technique of believability (they, of course, depict or illustrate everything), it is important what the student-observers saw in this. And they are able to see in a simple sketch of their comrades a lot of new ideas and solutions to the problem, about which the performers did not even guess or did not conceive. After all, “from the outside it is more visible”, especially when you have the necessary information! .. Even before the perception of an object, we are full of meanings about it, because we have life experience. These “views from different sides”, let us again recall our favorite parable of the blind and the elephant, and allow the participants of such work to enrich themselves from each other with new parts of truth through subject-reflective relations, striving for its integrity. Reflection in this case is understood as a mutual reflection of subjects and their activities in six, at least, positions:

The rules of the game themselves, as they are in this material, are control;

The performer, how he sees himself, and what he has done;

The performer and what he did, as seen by observers;

And the same three positions, but from the side of a different subject.

This is how a double mirror image of each other's activities occurs.

The same can be done while sitting at the table without leaving the playground. This method can be conventionally called a mental or imaginary experiment, which in theatrical practice is called “table work”.

So modern theatrical pedagogy has a comprehensive approach to training the entire spectrum of children's sensory abilities, at the same time, competence is being developed in creating the harmony of interpersonal communication, the sphere of independent creative-thinking activity is expanding, which creates comfortable and, what is important, natural conditions for the learning-communication process. The techniques of theatrical pedagogy solve not only special educational problems of theatrical education, but also make it possible to successfully apply them in solving general educational problems.

Of course, in a short article it is impossible to reflect all the new trends and ideas of theatrical pedagogy today. It was important for me to pay attention to the most, in my opinion, effective modern trends that actualize the problem of preserving the traditions of the Russian theater school and children's theatrical creativity.

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

B.K. Tebiev and others. Tula theater. Historical and art history sketch. - Tula, 1977.S. 16-17.

Pirogov N.I. Selected pedagogues works - M., 1953.S. 96-103

Cit. according to the book. To help the family and school. The Pedagogical Academy in essays and monographs. - M., 1911 P 185.

Resolutions of the 1st All-Russian Congress on Public Education (By Sections and Commissions) // Vestnik of Education 1914 No. 5 Appendix C 12.

All-Russian Congress of People's Theater Workers in Moscow. Resolutions of the school section of the congress. // School and life. 1916. No. 2. Stb. 59.

In the same place. P. 60.

See: Shatskiy S.T. Cheerful life. // Pedagogical. essays. In 4 t Vol. 1 - M, 1962, p. 386-390.

1 Of course, this is unacceptable in theatrical education, where, first of all, the organic process of living in a conventional situation is important.

The additional educational program is designed for children 8-14 years old and includes the following sections: "Technique of speech", "Expressiveness of speech", "Culture of communication", "Literary creativity", "Basics of stage skills", "Psychophysical training". Most of the classroom hours are in sections such as "Literary Creativity" and "Basics of Stage Skills."

The project that I want to bring to your attention is named like this:

Why did I address this issue?

Do junior schoolchildren need communication skills, teamwork skills, when everyone depends on everyone, and everything depends on everyone? Do you need creative courage of children, their faith in their own strength?

All these problems are solvable and can be realized through the techniques of theatrical pedagogy, which have proven their viability as a means of obtaining the desired results.

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Theatrical creativity as a way of socializing a child's personality

I, Kareva Irina Valentinovna, teacher of additional education, I am the head of the Lira association.The additional educational program, on the basis of which I build my activity, is designed for children 8-14 years old and includes the following sections: "Technique of speech", "Expressiveness of speech", "Culture of communication", "Literary creativity", "Basics of stage skills", "Psychophysical training". Most of the classroom hours are in sections such as "Literary Creativity" and "Basics of Stage Skills."

The project that I want to bring to your attention is named like this:

"Theatrical creativity as a way of socializing the personality of a child."

Why did I address this issue?

The child is 7 years old, he goes to school. It is at the start that the child must learn the basic methods of communication, not be afraid of problem situations, gain experience in solving them, develop curiosity, the need for knowledge.

Do junior schoolchildren need communication skills, teamwork skills, when everyone depends on everyone, and everything depends on everyone? Do you need creative courage of children, their faith in their own strength? Do you need exercises that train memory, imagination, clarity of speech, voice control? All these problems are solvable and can be realized through the techniques of theatrical pedagogy, which have proven their viability as a means of obtaining the desired results. They are applicable in any classroom, school, any children's group. To stage, to represent someone, to artistically read poetry and prose, to carry out lessons outside the box that go beyond the usual, extracurricular activities, holidays - in all these d The actions have features of the theatrical language.

Theatrical games are the most effective pedagogical technology for the development of the creative personality of children of primary and secondary school age.

The task of developing a creative personality in the process of education and training, set out in the lawRF "On Education",is one of the most socially significant in modern society. The practical tasks of additional education for children are defined as follows: “provision of the necessary conditions for personal development, health promotion, professional self-determination and creative work of children, their adaptation to life in society; the formation of a common culture; organization of meaningful leisure ".

The educational space of institutions of additional education for children creates the most favorable conditions for their implementation.

The urgency of the problemdue to qualitative changes in the social order of society, the needs for creatively thinking people.

Children's theater is an attempt to make children feel the joy of creativity. At the same time, the very structure of the theater, synthesizing various arts, makes it possible for children to reveal very different creative abilities in themselves. They can be artists, painters, sculptors, musicians, dancers. Therefore, these activities are very beneficial for children and enjoyable for adults.

Classes in a theatrical association help the child learn to adequately assess himself and his capabilities, integrate into the team, defining the place, the role that is inherent only to him.

In modern Russian society, there is an acute problem of the loss of spiritual and moral culture by the younger generation. Therefore, in the process of educational activity, we are faced with the following contradictions:

This project aims to find ways to solve the following problems:

loss of spiritual and moral culture by the younger generation;

lack of a holistic and purposeful system for the formation of cultural values ​​among students;

the problem of developing children's communication skills in various life situations with peers, teachers, parents and other people around them; development of adequate evaluative activities aimed at analyzing their own behavior and actions.

The subject of research isTheatrical creativityas the most natural, organic type of activity for children, which allows expanding the child's creative abilities and helps psychological adaptation in the team.

Through the playing of pantomimes, the gradual inclusion of spontaneous statements, schoolchildren come to the realization of oral communication, learn to control their voice, gestures, facial expressions. Participation in theatrical activities provides a very important social experience of communicating with acquaintances and strangers, with friends, with the elderly and disabled, the experience of correct telephone conversation, behavior in public places. Theater allows someone to remember, and someone to learn the most common fairy tales, their plots, to reveal through the dramatization of the features of the heroes, their characters. The “repertoire” is expanding as needed.

Objective of the project

creating conditions for the disclosure of the child's creative individuality through his inclusion in theatrical activities

The most important tasks of the research project are

1) educational:

• the formation of special knowledge and skills related to theatrical activities;
• formation of performing culture skills;
• learning to work independently on oneself and on a role.

2) developing:

• realization of the child's creative abilities through the art of puppet theater and theatrical activity in general, based on the development of personal qualities;
• development of communication, organizational skills;
• promoting the development of individual personal culture.

3) educational:

• fostering a sense of responsibility for oneself as part of a single team;
• education of the actor's inner psychotechnics;
• raising the need for constant work on one's personality, on the image.
• the formation of a culture of dignity in students; personal self-expression.

The implementation of this research project assumes that if the child is engaged in a theatrical association, then he gets the opportunity to show his versatile abilities, creating his own works in the process of pedagogically organized artistic and creative activity.

Stage 1 of the project is preparatory.

• Selection of literature on the research problem
• Selection of didactic exercises for the development of communication skills.
• Compilation and selection of diagnostic techniques on the topic to track the development of children's creative abilities in theatrical and playful activities.

At this stage, children comprehend the basics of spectator culture, the art of puppet theater. During this period, the following is carried out:

• preparation of the psychophysical and creative (acting) apparatus of the child;
• theoretical mastery of concepts and terminology, elementary stage skills.

Stage 2 is the main one.

The activity is aimed at the further development of the acquired skills, skills, improvement of performing skills, the implementation of creative initiative:

• development of skills in organizational activities;
• establishing close relationships between children and parents through joint leisure;
• realization of children's abilities through educational activities in various types of creativity;
• analysis, diagnostic cut, study of the personality of the pupil

• Correction of methods and techniques of the content of work with children and parents on the problem of the implementation of a pedagogical project.
• Drawing up individual routes for the creative development and growth of children of pupils of the theater studio.

The final stage

involves the application of the knowledge gained and the implementation of creative abilities in transformative activities:

• participation of pupils in the creation of the performance, individual work on the role;
• providing an opportunity for each child to self-determination through participation in theatrical and leisure - creative activities;
• organization of project activities, creation of author's scripts, screenings and views;
• organization of classes in creative groups of different ages, where senior pupils act as instructors.

At the theater lessons, it is important, first of all, to form the children’s ability to work in small groups, to give the basics of acting skills, to teach how to keep mobilization, to have arbitrary attention, to work in a team. This is the first stage of teaching acting. The law of collective work is being mastered: "To be at the right time for a common cause in the right place." Then everything will work out. That is, the work of the team is being organized and communication skills are being developed. That can be successfully transferred to other lessons, where students are also ready to communicate, work in small groups, easily move from group to group, easily change the roles of "leader - follower", "student - teacher".

Estimated project results:

• Theoretical mastery of concepts and terminology, elementary stage skills, practical application of knowledge and skills.
• Mastering professionally significant qualities: emotional perception of speech, figurative thinking, imagination, motor coordination, the ability to improvise.
• Realization of children's abilities through educational activities in various types of creativity.
• Teaching pupils the ability to make independent choices, the formation of communication skills.
• Willingness and ability to be creative not only in art, but also in science and other areas of life and activity.

Speaking about the social upbringing of a child, first of all, they mean the formation of a mature, socially active personality. The parameters for determining the creative activity and communication skills of children are as follows:

active speech, sociability, the desire to participate in theatrical games, emotional responsiveness, the ability to convey basic emotions with facial expressions and gestures, the ability to conduct a dialogue, the ability to hear and listen to a partner, to integrate into the team

Output

The practical significance of this project for other teachers.

Innovative activity on the use of art-pedagogical technologies has confirmed its productivity. In the process of working on the project, I was able to make sure that art, as a didactic tool that integrates into various school subjects, educational activities, creates the most favorable conditions for the formation of aesthetic and ethical immunity as an indicator of a person's spiritual and moral culture. This project is considered in the context of the educational technology "Pedagogical Theater", which may be in demand by subject teachers, school psychologists, organizing teachers, teachers of additional education;

• the use of theatrical pedagogy techniques fits well into the education and upbringing system of primary schoolchildren, contributing to the development and formation of their personality;
• participation in the theater provides a very important social experience of communication;
• in play, the child actively comes into contact with the phenomena of reality, experiences them, and this fills his life with rich content and leaves a mark in his memory for a long time;
• theatrical pedagogy makes it possible to develop imagination, memory, teaches you to freely express your thoughts and feelings through word, gesture, intonation, facial expressions;
• participation of children in performances gives them joy and satisfaction.

Moscow Institute of Open Education

Department of Aesthetic Education and Cultural Studies

Laboratory for interactive theater projects

the state that I will call the school state of mind, which we all, unfortunately, know so well, consists in the fact that all higher abilities - imagination, creativity, consideration - give way to some other, half-animal abilities - to pronounce sounds, regardless of imagination, count numbers in a row: 1,2,3,4,5, perceive words, not allowing the imagination to substitute any images for them; in a word, the ability to suppress everything in oneself

the highest abilities for the development of only those that coincide with the school state - fear, tension of memory and attention. " Leo Tolstoy

The place of theatrical pedagogy in the structure of modern pedagogical approaches

System-activity an approach:

The assimilation of the content of education and the development of the student in the process of his own Art pedagogy: vigorous activity. The assimilation of the content of education and the development of the student in the processholistic knowledge of the world and artistic and creative Theatrical activity pedagogy:.

The peculiarity of the method of cognition in theatrical pedagogy

Definition of art pedagogy

The concept of "art pedagogy" is actively used in the pedagogical community, but still does not have clear definitions.

Two main trends in understanding this phenomenon can be distinguished: pedagogy, which is implemented in art lessons (fine arts, music, MHC, theater, etc.) and pedagogy, which is based on holistic-figurative thinking and practice of living the content of education in any subject areas.

We will talk about art pedagogy in both its meanings. For the practices that we will consider were initially formed in art lessons and only then could they become relevant for any educational content.

The value and place of art pedagogy in education

“The image is a formative factor of art and science, invention.

Imagination is a vector of the future, the basis of creativity - “applied imagination”, which offers a form for the embodiment of a person's dreams and aspirations.

It is necessary to talk about a culturological approach to teaching art in general and about culture as the base not only of subjects of the artistic cycle, but, most importantly, of all other educational subjects, including natural and mathematical "

"The relationship of cultural factors in the formation of modern artistic thinking of the teacher of the educational field" Art ".

“The modern student loses a lot in his personal development due to acute lack of creativity, which by nature is necessary for a person. Early artistic practice gives the best opportunity to gain creative experience, and not only specifically artistic, but creative experience as such, that is, experience generation and implementation of their own ideas.

The first thing that is invariably characterized

aesthetic attitude, - a person's direct experience of unity with the surrounding reality : the outside world does not oppose him ... but opens up as the world of a person, akin and understandable to him. Such an attitude is disinterested, it excludes the consumer's view of nature. when a person is looking for benefits only for himself, and is based on communication with nature, proceeding "from mutual interests", and sometimes exclusively from the intrinsic value of her being. Unselfish and aesthetic attitude of a person to a person - as to "another" I "", when a person can put himself in the place of another, imbued with his feelings and experiences, perceive someone else's pain as his own. "

A.A. Melik-Pashaev "Artistic giftedness and its development during school years", Moscow 2010

“In the general school, art as mastery should become a means of humanizing a person.

If we agree that

living is the main form of transfer of experience , feelings, i.e. transferring the essence of any work of art, then

it is necessary to realize the assimilation as the main maybe the only real one way do not understand, namely live content "

B. M. Nemensky "Pedagogy of art"

“An important component is the development of the child's emotions.

Of great importance in the development of human abilities is the sensory sphere.

According to Daniel Golman (USA), it is emotions that are responsible for making decisions, since a person often listens more and is guided in actions by emotions rather than intellect. He regards emotions "as the ability to listen to one's own feelings, control outbursts of emotions, as the ability to make the right decision, and remain calm and optimistic about the situation."

L.G. Savenkova

"Problems of didactics of the educational field" Art "

Basic principles of art pedagogy

Reliance on the creative method

Integrity of the educational process

Polyartistic

education

Polymodality of creativity

Intonation as the basis of understanding

Theatrical art in a comprehensive school

Municipal autonomous educational institution

secondary school number 172

teacher of additional education Matveeva E.A.

The education system is called upon to transfer the knowledge of previous generations to a person, at the same time to form a high level of morality, to educate young people in an understanding of what is dangerous for their spiritual and moral life, and what is useful.

And if the main task of schools is to give each student fundamental knowledge in all subjects of the humanitarian and natural science cycle, then additional education is a means of identifying, supporting and developing the creative potential of students, it also contributes to the spiritual and moral education of the individual.The introduction of teaching theatrical art in a general education school can effectively influence the educational process.And here the tandem of an educational school and additional education is very important. Such a tandem exists in our school.

School theater. For some it sounds too loud and pretentious, for some it is not serious, for some it is simply ridiculous. For me, this is an attempt to realize my inner creative potential, and perhaps even a life-long work. In life, each of us is given the opportunity to believe in a miracle, although there is still a statement: “Miracles happen only in childhood”. Let me disagree with this. Isn't life a miracle? Isn't our children a miracle? And their theatrical (albeit non-professional) performances - isn't it a miracle? And the fact that in every role played by a child on stage, a particle of his soul is naked - is it not a miracle? Yes, this is it, this is the miracle!

As you know, the best way to raise children good is to help them become happy. Only such children can be entrusted with the creation of a new, more humane society in the future. A child comes to the school theater with a sense of celebration - he so wants to join the exciting, somewhat mysterious and magical theatrical action.

School Theater is a fun business, first of all, because it is here that there is a place for experiment, "skits", amateur creativity, in the best understanding of this expression. In the atmosphere of the School Theater, poets, playwrights, and artists are born.

Indeed, when we worked on the design of the performances: "Magic Garden", "Birthday of Leopold the Cat" "Geese-Swans" we got our own designers. Preparing for the performance of the propaganda teams, their own playwrights and poets appeared. For the main feature of this kind of art is free creativity at the behest of the soul.

It should be especially said that the teaching method presupposes the creation of a special moral climate in groups. They have neither excellent students, nor lagging behind. A distinctive feature of the method is that children themselves analyze their work and the work of their comrades. They do not evaluate, but analyze. In such an atmosphere, the sprouts of collectivism, tolerance for each other, and respect are most likely to sprout. The development of logical thinking goes hand in hand with the formation of oratory and stage speech skills.

The play has an important place in the training program. The presence of several groups (by age) allows you to approach its creation without haste, having completed all the necessary classes, preparing for it internally and in a staged sense. The point is that junior and middle classes should not be aimed at a quick stage result in the form of a performance. For a senior, it also becomes not an end in itself, but the result of the pedagogical process, or rather a part of it. From the moment of the premiere, the work inside the play does not stop, it is included in the repertoire of the School Theater, through which all students must go. The younger ones should not only watch these performances, but can also participate in small episodes or crowd scenes. Thus, the performance becomes not only the work of the senior class, but the common brainchild of all the participants in the School Theater.

The optimal number of students in each group is 12-15 children. This makes it possible to form a “mini-troupe” with two compositions in case of absences and illnesses, on the one hand, and to pay maximum attention to each student, on the other. And if three years ago we had only 3 theater groups, today there are already 12! This indicates an increased interest in our common cause.

The principal thing for the School Theater is the presence of a permanent stage with its own repertoire. We emphasize that children who have completed their studies do not “throw themselves out” on the street, but continue their stage life on this site, participating in the current repertoire and creating new performances. It is permissible and highly desirable to involve adolescents who have not previously studied at the School Theater to participate in this work. They come under the strong influence of "seasoned" artists, into the atmosphere of spiritual work. And it doesn't matter if there is a “turnover” of such “personnel”.

Novice actors become real heroes of school life. The atmosphere of joy and the element of play unite children. And now a sincere desire to establish contact with every child, despite the fact that he has a "track record", found a lively response in children's hearts! Many children became interested in the theater, and we began our ascent to the heights of the theatrical Olympus, hobbies, the first theatrical experiences, the first applause.

After monitoring after the first year of study, we noted:

During the academic year, the pupils' interpersonal and intergroup relations have significantly improved. A team of like-minded people was formed, a steady interest in theatrical activities developed. Children began to think more creatively, fantasize.

I would like to note that with the advent of the theater, almost all events in the school are held with the participation of students. Whether it is a regional competition "Traffic light", "Agitation brigade", reading contests or Teacher's Day. We participate in district, city, regional theater competitions and festivals.

2nd place in the regional competition "My Love Theater!" in 2012

Awarded with a diploma at the V 11 city theater festival "Chance" 2011

Diploma of the Ministry of Education of the Nizhny Novgorod Region for participation in the final of the 4th regional competition of children's and youth theater groups "Theater - the country of the present"

Prize for the best female role in the play "Cat's House" at the regional festival "My Love Theater" in 2014.

But the main thing is not diplomas and certificates, but work on the performance, where the performance itself is not an end in itself, but a reason to develop. And, of course, what a theater without a spectator!

Once, having shown a play at school, he does not die. We are actively touring the kindergartens with 6 performances in our repertoire. Many people already know us in the nearest children's centers.

For myself, I determined the following: in such a creative team, culture is brought up, the right attitude to the historical heritage, the world, people, a certain way of life is created in general, and at the same time self-affirmation occurs, since every child has the opportunity to express his individuality. In the school environment, through the art of theater, it is possible to assert the ideals of goodness, love, fidelity, justice, respect for traditions and, most importantly, the joy of knowing life. The guys not only participate in the work on the play, but also reflect on it, as if comprehending something sacred. With the power of their talent, children recreate the magical world of the performance, in which they love and suffer, performs noble and good deeds, opening the doors to a miracle, walking secret paths of an eternally different, but always unforgettable hero.

Our children's theater studio "Horizon" is a miniature metropolis. This is a unity of dissimilar, special, in some ways even unique personalities.

This is an international community. A special multicultural space is being “built” on its territory, opening up a wide scope for bringing up a child on the basis of universal human values. Carrying out its movement on the path of comprehending the art of the stage, the school theater strives for Peace, Good, Love! With genuine joy and almost sacred trepidation, the child enters the stage of the school theater. And even if he is dressed in a homemade caftan or a funny hat and does not have professional costumes - the main thing is that he is sincere and truthful!

Any psychologist will confirm that theatricality and staging are used as art therapy techniques. And since art is useful for developing communication, restoring and maintaining the mental health of children, it means that it contributes to the formation of the spiritual health of the nation.

Theatrical art is aimed at educating, at guiding the young spectator to make his own self-assessment using the example of the heroes of the performances: is it the right way I live and act.

In conclusion, I would like to say the following. Once I read a report at NIRO for elementary school teachers on the topic "The role of theatrical activities in elementary school." And there, telling the teachers about how we are touring the kindergartens, they asked me the following question: “Are you showing performances for free?”. “Yes,” I replied, catching a glimpse of a smile on the teacher's face. Probably, it is understandable that in our time people are engaged in volunteering not of this world. But, my dears, you should have seen the grateful faces of our spectators, the enthusiastic faces of our actors! The guys felt they were needed and important. It costs a lot.

Years will pass, many years. The little man will become an adult, he will learn a lot about life. And among the most dear childhood memories, there will be moments filled with the irresistible charm of the first school play and the role he played in this play.